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BEALE & CO, 
OMMISSION MERCHANTS, 


FOR THE PURCHASE AND SALE OF 


. 


WoOOE, 


No. 147 DUANE STREET, 


NEW YORK. 


Pe AG iS i 


ON DESIGNING AND WEAVING 


PLAIN AND FANCY WOOLEN CLOTHS. 


WITH 
MORE THAN 
ONE HUNDRED WEAVES OF 
THE LATEST AND MOST STAPLE AND 
POPULAR STYLES, FROM A TWO-HARNESS PLAIN 
WEAVE UP TO A FORTY-EIGHT HARNESS FANCY WEAVE, 
ACCOMPANIED BY RULES AND CALCULATIONS. TOGETHER WITH MORE 
| THAN THIRTY ILLUSTRATED PICK-OUTS OR DIAGRAMS. ALSO, DIRECTIONS AS 
| TO THE MANNER OF REDUCING LARGE AND COMPLICATED DESIGNS TO 
7 THEIR LOWEST TERMS, WITH THE CROSS-DRAWING-IN- 
DRAFTS FOR THE SAME. RULES FOR PICKING 
CUT SAMPLES, AND OTHER RULES AND 
TABLES OF IMPORTANCE TO 
MANUFACTUR- 
ERS. 


By A. A. BALDWIN, 
WEAVER AND DESIGNER, 


BRASH BR FALLS, 


sr. LAWRENCE CO., N- 


Aeo Pork: 
PETERS & RICHARDS, PUBLISHERS, 
55 READE STREET. 


1878. 


| 


Entered according to Act of Congress, in the year 
PETERS & RICHARDS, Lae 
In the Office of the Librarian of Congress, ee 


— 


aes awe che 


To the art of weaving naturally belong so many separate 
branches differing so materially in priuciple, that an experienced 
weaver in one branch is often entirely unfamiliar with the others. 

This work relates chiefly to one branch, that of weaving plain and 
fancy woolen cloths, in which the constant demand for novelty and 
variety, to keep pace with the competition of foreign manufacturers, 
renders a general knowledge of all its parts and details of the utmost 
importance both to the manufacturer and the operative workman. 


In the course of the work, the different classes of weaves have 
been explained under their respective heads, and arranged in their 
simplest and most natural order, while their general connection with and 
dependence upon one another as a system, have been explained and 
illustrated in such a manner that any person of moderate acquaint- 
ance with the art, may, with a little attention, easily comprehend the 
whole, and be able to apply the principle of any one class of weaves 
to the extension and improvement of another, so as to give the 


greatest diversity to his patterns. 


The author has endeavored to furnish such a book to the manufac- 
turing community as he believes is needed among certain classes, and 
it has been his aim and object to afford, in a form which could be pub- 
lished at a price within the reach of all, a more comprehensive, 
practical work upon the chief branches of weaving, than has ever 
before been written, and which contains the most modern and 
simplified principles adhered to by the best designers and weavers. 
He has endeavored to follow the subject of weaving closely, but has 
not attempted to teach designing thoroughly, as books have already 
been published upon that art which do it justice. The author does not 


believe that a man can become a practical weaver or designer simply by 
studying this book, for those arts can only be mastered by years of 
study and experience, as theory and practice should go together. 

This work is more especially calculated for those who are 
familiar with the running of looms, and have a little understanding of 
weaves and patterns, but without much knowledge of the different 
classes of weaves and their construction, or of their combinations. It 
is believed that persons of ordinary intelligence will be able, on exami- 
nation of the different pick-outs with their drawing-in-drafts, which 
are laid out plainly, to learn the whole art of reducing patterns and 
forming them into cross-draws, and with a little practice to become 
proficient workmen. 

A. A. B. 

Brasher Falls, N. Y., January, 1878. 


Jbl Sh pose 


re eee 
Page. 
CHAPTER I. 
ELH OvATOLMW CA VATIO Siac elclatsnrasoies enc Al ices cise aioe os eee ees 7 
CHAPTER II. 
Taste in the Selection and Designing of Patterns......... seaeiNere ereiat: wchahersmes 9 
CHAPTER III. 
The Arrangement of Colors in Patterms... ...... ahay pa tene' ou afeloloreveve (elrosoyel stay ess oifacer ev 12 
CHAPTER IV. 
On ‘ Picking Out,” or Drafting from Sample... ..... SOO ODER CHOCO D: Aon Ce Oons 14 
CHAPTER V. 
On! Weaving Plain Cloths << .siscicncs < ser asteccs-c0ees goiaysoiatavess sleeves Sisloxeia(s:siaiae a 
CHAPTER VI. 
Double: Pick and Basket Weeavine i525 2 nec ec Gleuise tienes ce scaieaia® sete maiels « 22 
CHAPTER VII. 
The Weaving of Twills......... Siva vapeleieisiecsisiercls saving eieasisisislemyesimes selsters aiemisad 
CHAPTER VIII. 
@Onthesweavange of Diagonal Corsini a iopsiccce orcieis oie saree sc: esse eels e © aicisiere ais eee 29 
CHAPTER IX. 
‘The Weaving of various kinds of Ribs... 2. 00. .sdeescsseesescne afelerasiuisiethetagens 36 
CHAPTER X. 
AVIISGellanGOUSMW CAVESinins.esc\sale'cta @csesiecs es a yee Sj tnes sie tierers aVoisieleisiecsetere 41 
CHAPTER XI. 
GWOMPINAMONVOL HWEAVES s y,2re cieievereys.a\ seis wiaiae stojera le breve cravels/se-sncler sis! s/s, abardare eietals 50 


CHAPTER XII. 


SR LeS AT GMEG al CSiaarctctaiey ea ies eve toupisusiisienevarsustaahensie Goleieie erstayeiteiareieiie: saree visveieaiercs, siete, «SDL 


RRA A. 


On page 22, seventh line, read “with one thread drawn into 


each, etc.,” instead of “two threads, etc.” 
Prats No. 3, Pickour No. 9, Weave 54 should be Weave 64. 
Prats No. 4, Pickour No. 11, Weave 58 should be Weave 68. 
Same Prats, Pickour No. 12, Weave 59 should be Weave 69. 
Same Puars, Picxout No. 138, Weave 60 should be 70. 


Same Prats, Picxour No. 14, Weave 61 should be 71. 


he 
ye 


A TREATISE 


ON DESIGNING AND WEAVING 


PLAIN AND FANCY WOOLEN CLOTHS. 


CHAPTER L 
THE ART OF WEAVING. 


Those who would attain to excellence in the art of Plain and Fancy 
Weaving should place themselves under the tuition of an experiended 
master, and even then they will find that a considerable practice and 
application will be necessary before much proficiency can be expected. 

With a little attention and perseverance, however, a person of mod- 
erate capacity may soon acquire enough knowledge of the loom to 
enable him not only to weave any pattern from a draft, but also to put 
into practical shape such forms or ideas as his own fancy may suggest. 

The first attempts of a learner in this art should be to acquire a 
thorough knowledge of the operations about the loom ; then to set 
his patterns up, and have them run correctly. After he has made 
sufficient progress in these branches, he may proceed with weaving 
from simple weaves, particularly at first from the least complicated 
specimens of the kind of patterns to which his attention is to be after- 
wards directed. The beginner, when first attempting to weave from 
his own fancy, should be very cautious as to the objects which he 
selects for his patterns and the manner in which they are to be woven, 
for his taste and judgment in making these selections and experiments 
will govern, in no small degree, his peculiar “style” ever after. 

He will therefore be much benefited in the early stages of his pro- 
eress, by procuring as great a variety of appropriate styles as possible 
for future use, which can be copied either from imagination or by the 
dissection of the original pattern, and in this way he will afterwards, 
witb a little modification of their forms, be able to give a considerable 
diversity to his patterns. At the same time he ought to avoid as much 


8 THE ART OF WEAVING. 


as possible a certain sameness of style, which is sometimes found in 
patterns even from the best designers. 

The whole art of weaving can rightfully be divided into a great 
. many different branches, which are too numerous to be laid out and 
explained in this small work ; but as I do not intend to go outside of 
the boundaries of weaving plain and fancy woolen cloths, it is not 
necessary (nor do I feeel competent) to speak of any branches, ex- 
cept those used in the manufacture of such cloths. All the diversity 
of which these branches are susceptible comes from the manner in 
which the threads of warp are separated, or the harnesses operated to 
receive the filling. 


TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. ) 


CHAPTER Tt. 
TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. 


Designing is perhaps the most important, as well as the most 
delicate department in the whole course of fancy weaving, for it is on 
a judicious selection and extensive variety of patterns, combined with 
economy in the disposal of colors, that the success of the manufacture 
will untimately depend. 

The manufacturer, therefore, though no designer himself, should 
possess a competent knowledge of patterns, or at least of arranging 
colors. This would not only improve his taste, but would enable him, 
. when any new or striking objects occurred, to communicate his ideas 
with precision to the designer, and to make a more tasteful selection 
from the productions of others. Such is the case in some mills now, 
and the consequence is, patterns from those mills are usually distin- 
guished for the ease and elegance of style, while the greatest economy is 
observable in the use of the materials of which they are manufactured. 

On the other hand, the qualifications of a designer who would excel 
in his profession, are by no means of a superficial nature. 

A facility in drafting or delineating any pattern that he may 
happen to come across, whether natural or imaginary, combined with 
a thorough knowledge of the principles of weaving, at least with those 
branches with which he is more immediately connected, are indispen- 
sable qualities. 

The designer, like the poet and painter, ought to possess an 
unlimited fancy, and a strong and lively imagination ; to be deeply 
impressed with the beauties and charms of nature, and to be able to 
draw from them the principal effect of his designs. 

A refined taste, also, is as necessary in the designer as in the manu- 
facturer, for nothing can be more offensive to a person of genuine 
taste than to see a pattern crowded with an incongruous assemblage 
of distorted objects. 

Since taste, therefore, is essential in every branch of fancy weaving 
and designing, as well as in the other branches of cloth manufacturing, 
while, at the same time, it is so very difficult to distinguish between a 
good taste and one of an inferior kind, it may be of use here to in- 
quire what is the true standard by which the different tastes of men 


10 TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. 


may be compared, so as to discriminate between the true and the 
false. 

In some men only the feeble glimmerings of taste appear, and the 
beauties which they relish are of the cvarsest kind, and of these 
they have but a weak and confused impression ; while in others, taste 
rises to an acute discernment, and a lively enjoyment of the most 
refined beauties. 

In general, we may observe that in the powers and pleasures of taste 
there is more remarkable inequality among men than is usually found 
in point of common sense, reason, and judgment. 

The characters of taste, when brought to its most improved state, 
are all reduceable to two : delicacy and correctness. 

Delicacy of taste respects principally the perfection of that natural 
sensibility on which taste is founded. It implies those finer organs of 
powers which enable us to discover beauties that lie hid from a vulgar 
eye. One may have a strong sensibility, and yet be deficient in deli- 
cate taste. He may be deeply impressed by such beauties as he per- 
ceives, but he perceives only what is in some degree coarse and bold, 
while chaster and simpler ornaments escape his notice. In this state, 
taste generally exists among the rude and unrefined. 

_ But a person of delicate taste sees both keenly and accurately. 
He sees distinctions and differences where others see none, and the 
most simple beauty does not escape his notice, and he is sensible of 
the smallest blemish. 

Delicacy of taste is judged by the same marks that we use in 
judging of the delicacy of an external sense. As the goodness of the 
palate is not tried by strong flavors, but by a mixture of the ingredients 
where, notwithstanding the confusion, we remain sensible of each, in 
like manner delicacy of taste appears by a quick and lively sensibility 
to its finest, most compound, or most latent objects. 

Correctness of taste respects chiefly the improvements which that 
faculty receives through its connection with the understanding. 

A man of correct taste is one who is never imposed upon by 
counterfeit beauties—who always carries in his mind that standard of 
good sense which he employs in judging of everything. He estimates 
with propriety the comparative merit of the several beauties which he 
meets with in any work of genius ; refers them to their proper classes, 
assigns the principles as far as they can be traced, from whence their 
power of pleasing flows, and is pleased himself precisely in that degree 
in which he ought, and no more. 

Tt is true that these two qualities of taste, delicacy and correctness, 


TASTE IN THE SELECTION AND DESIGNING OF PATTERIS. 11 


mutually imply each other. No taste can be thoroughly correct with- 
out being delicate ; but still a predominancy of one or the other 
quality in the mixture is often visible. 

The power of delicacy is chiefly seen in discerning the true merit of 
a work ; the power of correctness in rejecting false pretensions to 
merit. Delicacy leans more to feeling—correctness more to reason and 
judgment. 

The former is more the gift of nature ; the latter, more the product 
of culture and art, 


12 THE ARRANGEMENT OF COLORS IN PATTERNS. 


CHAPTER IIL 
THE ARRANGEMENT OF COLORS IN PATTERNS. 


Tn the colored branches of fancy cassimeres, the distribution or 
arrangement of colors in a pattern is of no less importance than the 
choice of weave to apply to it; and any person who has the least ex- 
perience in the arrangement cf colors in patterns, will perceive that 
some colors will have more brilliancy and effect when placed together, 
than when they are placed separate or beside some others. 

This arises neither from taste nor imagination, but is founded in 
nature, and may be explained on the principles of optics, for it is well 
known that the seven prismatic colors have exactly the same relation to 
each other as the notes in an octave in music, and therefore the effect 
produced by artfully disposing of the kindred colors is no less pleasing 
to the eye than the coneords of musical sounds are grateful to 
the ear. 

Colors, therefore, with respect to the effect which they thus produce, 
may be arranged under two heads—namely, those which are contrast- 
ing, and those which are harmonizing. The contrasting colors are 
such as are most opposed to each other ; the harmonizing colors are 
those intermediate tints which lie between the contrasting ones, and, as 
it were, blend them together. 

The contrasting colors may be discovered by a very simple optical 
experiment. Place, for example, a red wafer on a sheet of white 
paper, and look on it steadily for some time until the eye becomes tired, 
and a ring of green will begin to appear round its edge ; and even after 
the eye has been removed to another part of the paper, the green ring 
will still be visible. Hence, green is said to be the contrasting color 
of red, and red, on the contrary, is the contrasting color of green. 

In like manner it may be found that purple is the contrasting color 
of yellow, blue of orange, violet of a mixture of yellow and orange, 
and black of white, 

The compounds of these colors will also have their contrasting and 
harmonizing ones. Thus, purple inclining to red, has for its con- 
trasting color, yellow inclining to green ; purple inclining to blue has 
yellow inclining to orange, and so likewise with the other compounds. 
On the other hand, a harmonizing color will be the nearest tint to the 
original, but farthest, except the original from the contrasting color. 


* 


THE ARRANGEMENT OF COLORS IN PATTERNS. 13 


Yellow is, therefore, the harmonizing color of white, orange of 
yellow, red of orange, violet of red, and blue of violet, Xe. 

Different shades of the same color, such as light and dark green, 
light and dark red, light and dark blue, ete., when they are distinct, 
form likewise very bold contrasts; but when the same color runs 
through a variety of shades, from a very dark to a very light tint, such 
tints approach to the nature of harmonizing colors. 


14 ON “PICKING OUT.” OR DRAFTING FROM SAMPLE. 


CHAPTER Vi: 


ON “PICKING OUT,” OR DRAFTING FROM SAMPLE 


The ability to “pick out,” or draft, from samples, is an important 
quulification for the designer or weaver, and is one which cannot be 
learned by theory, without the aid of practice. I shall give here, for 
the benefit of beginners, a few brief explanations of the methods ; but, 
for a person to become an adept in the art of picking out or drafting 
from sample, he should be, for some time, under the personal instruc- 
tions of a practical designer, who explains, as he goes along, the manner 
of picking out and drafting various styles of weaving, and, at the same 
time, observes all false movements on the part of the learner. With 
all of these advantages, however, it requires a person of good intellect 
and judgment, with years of practice, to make a good draftsman. But 
it is not always the case that persons desiring to learn this art have 
the spare means to pay a designer for his personal services, 
as they would like to do, and it is more especially for such persons 
that the following explanations are intended. It is hoped that by 
closely observing them, they will, in due time and practice, make such 
progress as shall enable them to pick out any ordinary pattern rapidly 
and with ease and accuracy. 

When having samples to be drafted, observe carefully, by means of a 
sharp knife, if there is much nap on the back of the sample ; if so, it 
should be removed by shaving, (care being taken not to cut the 
threads,) or by holding it over a lighted match and scorching off the 
nap, being very careful not to burn the threads. Having done this, 
ascertain which are the warp threads, and which the filling. This can 
be found by picking out a thread each way of the sample, as the warp 
threads are supposed to be harder twisted and stronger than the fill- 
ing. Should you fail to detect them in this way, you have only one 
means left, and that is by the feeling of the nap on the face of the 
sample, which always runs with the warp ; and the surest way to de- 
tect how the nap runs is by placing the sample on your cheek, which 
is more sensitive to the touch than are the fingers, and moving it 
carefully up and down, and from right to left. In this manner you 


ON ‘‘ PICKING OUT,” OR DRAFTING FROM SAMPLE. 15 


will find that it feels smooth one way and rough the other, the smooth 
way indicating the way the nap lays. 

Having now satisfied yourself which way the warp and filling run, 
procure a few squares of designing paper and the tool used for picking 


with, which should be a small round-pointed awl with a handle attached 


that will fit your hand nicely, which should be held in the same man- 
ner as the pen when writing. Next, place the sample in the left hand, 
under the end of the thumb and over the fourth finger, with the next 
finger extended up partly over the fourth finger, holding the sample 
down tightly, and at the same time ready to receive all threads that 
have been passed by examined, under it, and out of the way of the 
others. The sample being held now in the right position, proceed 
with picking out the filling threads from the warp until you have 
about one-quarter of an inch freed from the filling, this being suffi- 
cient to begin picking with. Cut off the warp threads at the right 
hand corner for a space of about one-half of an inch, and close up to the 
filling threads. Everything is now in readiness for business, and the 
picking out is continued as follows (beginning always at the right- 
hand side, and reading to the left): 

Raise one filling thread up from the rest with the point of the awl, 
sufficient to detect whether it passes over or under the warp threads. 
If it passes under, then of conrse the warp thread was raised to 
admit the filling in passing under. Therefore, call it one up, and note it 
down on the design paper by the character X; at the same time write 
down the color of the warp thread over the top, and the filling thread 
at the right. Having done this, pass the warp thread examined under 
the third finger, and take up the next one in rotation (being careful 
not to get them crossed); and if it is found under the filling thread, 
then it must have been down, to have allowed the filling to pass over 
it. Therefore, call it one down, and note the same on the paper by 
leaving a blank space, or making a dot thus ®, and in this manner 
keep passing to the left, noting down all the warp threads as they 
appear over and under the filling, until you find a repeat, or get the 
width of the pattern ; then withdraw that filling thread and raise 
another, and proceed the same as before; and then another, and 
another, and so on, untii you find a repeat in the filling. This giving 
a repeat both ways, you have the picking out completed ; and if the 
pattern is found to be too large to weave with a straight draft, it must 
be reduced, which is accomplished in the following manner : 

Begin with the first warp thread at the left hand side, and mark it 
No. 1; then pass on to the right, looking for more threads woven in 


16 ON “PICKING OUT,” OR DRAFTING FROM SAMPLE. 


the same manner, reading from top to bottom, so many up and 
so many down, and all threads found to read the same as No. 1 mark 
them with a figure 1. Then begin back again and mark the second 
thread No. 2 (if not like the first), and continue with this the same 
way as before, and in like manner keep proceeding until every warp 
thread in the pickout is numbered ; and as these numbers read, so 
are they to be drawn into the harnesses, each number to be drawn on 
to a corresponding number of a harness, and the highest number de- 
notes the number of harnesses required to weave the same. (It will 
be seen that the pickouts in this work and the drawing-in drafts are 
governed by this principle. ) 

The more fully to illustrate the preceding remarks, I have placed 
below an illustration of a small pickout, which will more clearly show 
their meaning. 


Dressing of Warp Pattern. 


«ce a en erence = 
PESEEP25222 3 
Top. SHSS OOO SS Mem Filling. 
6008S O00e#Oo Black. 3 
re ¥ IO SS IOI SS White. = 
ao 8 S00GSSOS@ White. ‘sr 
fe JOSeLs 10) Black. 
5" & | ec: es ¢ ee | 
mer < ter imi y imler Jer <ieie 3 > eee 
SoU Leeoleeo nose J 
* Bottom. 12342143214 341 
ed eves 14 DOU 0S0C8000¢$ fa 
SO JN6eS 3 OO@IS00 800 
OleOle ? Oecoencoeos 
PeOte soe 1 ees eeeS enc 


Front. The Satine in Draft. 


Reading from top to bottom shows the manner each warp thread is woven en. 
Reading from right to left, shows the manner each filling thread is woven in. 


In the above illustration, as the threads appear at the top of pick- 
out, so do they appear in the sample, and the same with the filling 
threads at the right. 

There are, of course, exceptions in all cases, and the reader may 
often find it more convenient to pick out the warp threads instead of 
the filling, and in such a case hold the sample in same manner as 
before (reading from the right to the left), and all threads that appear 
up call them down, and those that appear down call them up, bearing 
in mind to note them down on the designing paper as reading upwards 
from the bottom to the top. 


ON WEAVING PLAIN CLOTHS, 17 


‘ CHAPTER V. 
ON WEAVING PLAIN CLOTH 


Having given an idea of what is necessary to the attainment of 
excellence in the art of plain and fancy weaving, it will now come in 
place to exhibit a few appropriate weaves used in the manufacturing 
of plain cloths. The first of these in order is the original two har- 
ness weave, which is thus : 


This is the principal weave used in making all kinds of flannels, 
prints, ginghams, and other finer grades of dress goods; it is also 
used to a certain extent in weaving a variety of fine light weight cas- 
simeres for summer use. 

Each thread of filling passes over and under a thread of warp al- 
ternately ; and by dressing a warp of one thread drab and one of 
white alternately, and using filling the same, it produces a perfect hair 
line by having the drab filling thread pass under the white warp and 
over the drab, and the white to pass over the white and under the 
drab, and in like manner with any two colors desired. And, again, 
it is used in weaving fine double and twist goods, when several colors 
are to be displayed equally. 

In weaving fine goods where more ends are used in the warp than 
would be practicable for the working of two harnesses, it is necessary 
to add on two, four, or six harnesses more, in order to give free access 
to the working of the heddles, as it does not do to have the heddles 
crowded on any harness, for such would cause the warp to chafe and 
break ; and as this would make slow weaving and unprofitable cloth 
for the manufacturer, it is always best to use a sufficient number of 
harnesses, and especially if the warp is inclined to go badly. The next 
in order is weave No. 2, which represents the plain broad cloth weave. 


The filling passes under three warp threads, and over the fourth in 


18 ON WEAVING PLAIN CLOTHS. 


succession, which throws ? of the warp on the face of the goods. 
When used with good filling, this weave makes a very strong and 
durable piece of cloth. i 
This, applied to a warp of all single yarn of a dark brown, with 
filling all double and twist of black and white, twisted twelve turns 
to the inch, makes a handsome piece of goods for whole suits, but 
should be finished on the wrong side, or, in other words, reverse the 
weave, which will be as weave No. 3—that is, calling the sinkers (as in 


Weave No. 3. 


No. 2) risers, and the risers sinkers, which makes No. 3 weave. Sink- 
ers denote harnesses down, and are represented by the blank squares 
in the weave, (or loom chain pattern,) while the risers denote har- 
nesses up, which are represented by the black characters. The figures 
at the bottom of weaves denote the number of each harness in ro- 


tation. 
‘Weaye No. 4. 


Weave No. 4 represents what is called the broken twill cassimere 
weave ; it does not make a very fine face, but it comes under the 
head of plain weaving, and is used to a great extent in the manufac- 
turing of plain melton cassimeres. This weave is produced from the 
common four harness cam loom, and will weave the four harness cas- 
simere twill by drawing the warp in on what is called the skip shaft 
draw, which is 1, 3, 2, 4, with the harnesses numbered in rotation. This 
point will be brought up again under the head of Twills, where I 
shall endeavor to give it a more thorough explanation. The common 
coarse grays, for which there is such a demand, are mostly made 
from this weave, and a good rule for making these goods is as 
follows: Warp of 1,200 ends on the heavy side of 2 run, laid out 40 
inches in the reed, (inside of selvage) which will require a No. 10 
reed with three threads in a dent. Filling, 12 run, with 30 picks to 
the inch. This makes a piece of goods that handles well, and will 
finish 13 0z., which is the standard weight for this class of goods, 
although there are more that fall short of this weight than there 
are that come up to it. 


ON WEAVING PLAIN CLOTHS. 19 


Weave No. 5 represents one kind of a beaver weave, and requires 
8 harnesses and 4 bolts of chain. A very good rule for a beaver made 
from this weave is as follows: warp of 2,280 ends of white yarn 4 run 
fine, drawn through a No. 14 reed, with 4 threads in a dent. This 
will make it a little over 40 inches in the loom. Filling should be all 
fine shoddy, of 2 run yarn, with 48 picks to the inch, and color in the 
piece black. It is best to use two shuttles, run on the pick and pick 
motion, to insure perfect goods. 

It will be noticed in the above weave that the harnesses, numbered 
2, 4, 6 and 8, have only one riser to three sinkers, which makes these 
for backing threads, while 1, 3, 5 apd 7, have three risers to only one 
sinker ; therefore these are for weaving face threads. For instance, 
dress a warp of 1 thread fine yarn, good stock, and 1 thread coarse 
yarn of poor stock, and draw in straight draft ; it brings the fine yarn 
ou harnesses 1, 3, 5 and 7, while the coarse is all on. harnesses 2, 4, 6 
and 8; this weaves that part of the warp made of poor stock on the 
back of the cloth, while that of the finer grade is woven on the face, 
which gives the goods the appearance of having all fine stock in the 
warp ; the filling threads are all woven in alike—that is, one-half on 
the face, and one-half on the back—to each thread of filling, which 
makes it a substantial weave in the use of poor stock. 


Weave No. 6. 
B @0 


mw 
+ SOS#OOL 


Weave No. 6 represents what is used to a great extent in the 
manufacturing of plain faced, double and twist goods. It only re- 
quires 4 harnesses, but 8 bolts of chains. It may be observed that in 
this weave the harnesses operate alike ; or, in other words, they each 
rise and fall the same number of times in succession, and that there 
are no harnesses employed in the weaving of backing threads as in 
the preceding weave, but there is a backing thread used in the filling 
which appears on the bolts as marked with the letter B on bolts 1, 3. 


20 ON WEAVING FLAIN CLOTHS. 


5 and 7, while bolts 2,4, 6 and 8, are for the face thread to pass 
through on. <A very good rule for making a double and twist cassimere 
with this weave is as follows: Make warp of 1320 ends of 23 run yarn 
tor the single and the D. and T. to be made from 5} run yarn, doubled, 
and twisted 18 turns to the inch, dress the warp 4 threads black and 
light gray D. and T., and 2 threads single black. Filling same weight 
of yarn as the warp, and to run thus: 1 thread black and grey D. and 
T., 1 black ; 1 black and grey D. and T., and 3 black. The D. and T. 
threads are to appear on the face, while the black threads weave in on 
the back, and one thread on the face to each pattern. Reed it 40 
inches in the loom, and put in from 44 to 48 picks to the inch, which 
will make a very strong and durable piece goods, that will finish up 13 
oz. and over, according to the number of picks. 


ONS No. U 


Bp ad 


1% OOOO 
oe 


C 


o 
@¢9o0S6e000 


+* 
eo 
+ 
O 


1 @¢68004 
cl GOUGH OOS 


This represents the weave used in one class of goods called Mos- — 
cow’s, which are very heavy, and are intended for cloakings and over- 
coatings ; it has a plain looking face, and looks weil when nicely 
finished. It requires 12 harnesses and 12 bolts of chain ; every third 
pick of filling is for backing, and appears on the bolts marked. This 
makes two threads weave on the face of the goods to one on the back ; 
therefore, the face threads have to be a great deal finer than the back- 
ing. These goods are always woven white, of double width, and colored 
in the piece. A good rule for making them is this: warp 4800 ends of 
4 run yarn laid out in loom 80 inches wide ; this requires a No. 10 reed 
with 6 threads in a dent. Filling for face to be 5 run fine, of good 
stock, backing to be of evarse shoddy 1} run, put in 65 picks to the 
inch. This makes the cloth weigh from the loom a little over a pound 
to the single yard. 


ON WEAVING PLAIN CLOTHS. 21 


Weave No. 8. 
@¢0e00 ee a 


ah 
¢09¢¢0 800860 
h. CH@HSSCOOHSHSO 


bet 0 CO HR OT 2 “FCO OAS 


Weave No. 8 is also another weave used in the manufacturing of 
this class of goods. It will be observed, in the preceding weave, that 
there are no harnesses employed in the weaving of backing threads in 
the warp, when in this weave it will be seen that the harnesses 3, 6, 
9 and 12, weave backing threads, which is every third thread for back- 
ing, the same as in the filling, and for this reason (that these threads 
can be made of lower grade stock) this weave is better adapted in the 
weaving of heavier weight Moscow's than the former one. 


Weive No. 9. Weave No. 10. Weave No. 11. 
Weave No. 15. O@oo #00 O80e 
Dosoo0o0so Ot Oe Heo O00 
B. G14 88ee8 e085 00a #600 
oooeoo0le Oe Oe Oe0 
B. 6469008 O00 #¢00 Oe 
B. 6896644 1234 1234 1234 
@0008030 
B. OPDISVSS 
sist jelsiat Js Weave No. 12. Weave No. 13. Weave No. 14. 
B @@eoeLs goog Deog 0 
UUO#O008 eee oo8o een 
Bb. 1464 Ge 40¢0 @009 Ceo 
690000090 oe08 OO#O O80 
B. SSS Hess O@og0 @000 e020 
OO@su0G oleae oni } 
B. 64660680 oov@ Aes eas 
12345678 @8e0 noose Oeo@a 
12:34 1234 e234 


The weaves, 9, 10, 11, 12, 13, and 14, are all appropriate weaves in 
making medium weight goods, but weave No. 15 is designed to be 
used where a heavy weight is desired on goods of nice colors, that are 
to be finished close, and show a nice, smooth face. All the above 
weaves are applicable alike to all grades of plain cassimeres. 


22 DOUBLE PICK AND BASKET WEAVING. 


CHAPTER VI. 
DOUBLE PICK AND BASKET WEAVING. 


Weave No. 16. 


Weave number 16 represents what is called a double pick. It works 
on the same principle as a plain weave, but instead of two harnesses 
being employed, there are four, and 1 and 2 work in succession, with 
3 and 4 twice over, which receives two picks of filling in a shade instead 
of one. It may be obsérved that by using two harnesses, and drawing 
two threads in a heddle on each harness alternately, that it produces 


the same pattern as four harnesses with two threads drawn into each 
heddle in succession, 
Weave No. 17, 


Weave No. 


a 
~ 


€go0cgd 


5 
2 $908 
~6$Se¢0000 


The weaves 17 and 18 are what is designated as the basket weaves, 
and can be carried up to 12 harnesses, and even more in some in- 
stances. They can be woven with two harnesses on the same principle 
as No. 16, but it is not practicable on account of the crowding of the 
heddles. 

Weaves of this class in general are calculated to be used with warps 
of one color and filling of another, and are used to a great extent in 
the combining of other weaves in fancy patterns. 

An odd (but quite pretty) pattern can be produced from No. 18 
made as follows. Warp 1200 threads, of three run yarn, dressed thus : 


4 black 


4 light gray 3 times over. 


DOUBLE PICK AND BASKET WEAVING. 23 


8 black 
4 light gray 
4 black 
8 light gray 


t 3 times over. 


64 threads in warp pattern. 


Filling to be the same as warp in every respect, with 40 picks to 
the inch, warp laid out in the reed 374 inches, which requires No. 8 
reed with 4 threads in each dent. The filling chain and shuttle boxes 
should be set in such a manner that there will but one color appear in 
a shade. This will cause the shuttles to change alternately at the 
changing of each shade, except when the 8 threads of one color appear, 
and then one shuttle remains to fill two shades before changing. 

There has been nothing as yet mentioned in this work about 
selvages, for the reason that in the preceding branch of “ Plain 
Weaving ” the selvage threads can be so arranged on the harnesses em- 
ployed as to dispense with the selvage straps, or, in other words, 
harnesses ; (although it is not practicable, for nice plain even selvages 
are preferable to any others on all grades of woolen cloths). But take 
it in this branch of weaving, it is essentially necessary to employ sel- 
vage harnesses, for it will be readily seen that in using those weaves, 
and all others of similar character, that have two or more picks in a 
shade, that if there were not selvage harnesses employed which would 
catch and retain every pick in succession, there would be nothing to 
draw the filling from the bobbin ; therefore the shuttle would carry the 
same pick of filling back and forth every time, except, when the shade 
changed, and then one pick only would be retained, and this only in 
cases where there were an odd number of picks in a shade, such as three 
or five, which would cause the thread to be retained alternately on 
each side, at the changing of the shades. But with an even number, 
such as two, four, and six, none would be retained, for the reason that 
the shades change every time with the shuttle in the same box, or 
on same side of the loom, which would not permit of any weaving of the 
cloth, as there would be no yarn drawn from the bobbin, except what 
would naturally come off from the catching of fibres. This would be 
sufficient to cause snarls of filling to now and then weave in, which 
would be the extent of the weaving produced. 


24 THE WEAVING OF TWILLS. 


CHAPTER VII. 


THE WEAVING OF TWILLS. 


Twills differ in respect to the number of harnesses employed, and 
the manner in which the warp and filling threads are interwoven. 

Next to plain and basket weaving, twills are the most extensive 
in their application to every branch of cloth manufacture ; they not 
only serve as a ground on which other decorations are woven, but 
they form purely, on their own principles, some of the most beauti- 
ful patterns which can be produced in the loom. The number of 
twills which may be produced by the varying of the drawing in plan, 
or the order of operating the harnesses, is very large. The first weave 


in order here is No. 19, which is called the three harness twill. This is 
Weave No. 19 


008 
O80 
#00 

123 


Weave No. 20. 


128 
sometimes called the blanket twill, from its being frequently employed 
in the weaving of blankets. Nos. 19 and 20 are the same weaves re- 
versed ; 19 throws two-thirds of the warp on the back of the goods, 
and one-third on the face, while 20, throws two-thirds on the face and 
one-third on the back. No. 19 would be called a filling face, while 
No. 20 would be called a warp face, which is frequently used in the 
weaving of fine double and twist cassimeres, and is also used to a great 
advantage in large combination patterns. 


Weave No. 21. 


1234 

Weave No. 21 represents what is called the common cassimere, four 
harness twill, and is woven on the cam looms to a great extent. 
Probably this is used more than any other weave in the manufacturing 
of all grades of woolen cloths. Not only is it used to a great extent in 
the construction of a great variety of beautiful and pleasing designs 
produced from the fancy loom, but there can also be a large variety of 


THE WEAVING OF TWILLS. 25 


fancy figured stripes produced from it in the common cassimere cam 
loom, such as double picks, broken twills, right and left hand twills, 
etc., all of which can be combined and produced in one pattern on the 
cam loom. 

In the weaving of any class of twills, it is necessary to have them 
run with the twist of the warp, in order to have the twill look full and 
even, otherwise they will look flat, and not appear above the face of the 
filling thread. For instance, in the above weave, which throws the same 
amount of warp and filling on both sides of the goods, it will be 
noticed that the twill on one side looks flat and not distinct. This, of 
course, is the wrong side, and the twill runs the reverse of the twist in 
the warp, while on the other side it will be seen that the twill looks 
full and distinct. This is the right side of the goods, and it will be 
" geen that the twill runs with the twist of the warp. 

Thus, if the warp is spun with a right hand twist, the twill should 
run to the right ; if spun with a left hand twist, it should run to the 
left. 

There are two ways of producing this effect—one is by the drawing 
in of the warp ; the other is by the hitching up of the treadles. In 
governing it by the warp, commence drawing in in the usual way, be- 
ginning on No. 1 harness, and drawing from you across the harnesses 
in succession ; this will throw the twill one way, while beginning on No. 
4 harness, and drawing towards you in succession, will throw it the 
other way. In governing it by the treadles, draw the warp in the 
former way, and hitch up the treadles according to figures Nos. 1 and 
2. Let the straight lines represent the treadles, and the numbers the 
manner of hitching them up ; thus the number of a treadle must be 
hitched to a corresponding number of a harness. According to fig- 
ures Nos. 1 and 2, it will be seen that No. 1 set of treadles is hitched 
up to the right, and No. 2 to the left. 


Fig. No. 1. 


From these illustrations, the reader will be able to see and compre- 
hend what is required for the changing of the twill, with the treadles, 


26 THE WEAVING OF TWILLS. 


For an illustration of the right and left hand twills, and combina- 
tion of stripes spoken of, see pickow No. 1 on plate No.1. It will be 
seen from this that the whole design is composed from the 4 harness 
cassimere weave (which is marked out at the upper left hand corner of 
the pickout,) and in order to produce it, it must be drawn in accord- 
ing to the drawing in draft as marked out, or in other words, as the fig- 
ures read at bottom of pickout. This pattern can be made with anall 
black warp of 1460 ends of 34 run yarn, drawn in a 9} reed, 4 threads 
in a dent, with filling alla light gray of 3 run yarn, 42 picks to the 
inch, which makes a very pretty fancy stripe. 

The stripes have to be formed in the weaving. 

Below I present a few of the many fancy twills, although Nos. 23 


Weave No. 22. Weave No. 23. Weave No. 23. Weave No. 25. 
@0¢@00 @0¢@000 ®#00008¢@ 
O@O0S$0O C@O*®SOD0 @ee@00004 
DO¢08 ILC@O Ss @9¢¢000G 
e000 LOU¢Ies DO9Se000 
O@00e ® 000404 OOU¢@ee00 
12345 @@CO004@0 UOUGSH SO 

O¢e0008 OOUCH# eee 
1234567 SDU0008e 
12345678 
Weave No. 26. Weave No. 27. Weave No. 28. 
SLSLlse0L s0O¢e00004 @040$80600 
OS0s0e%e0 @#¢0¢¢0000 @(_S0@¢0¢0 
DUGO4048d 0¢@2¢000 ODUSOUs0Ss0S 
SlU0Sle098 DOUS%le¢¢00 €00918 1660 
@e00$0¢0 OCOU#SCSe0 D@008_@0es 
De#s00s04e OCOUSs0e¢9 Sl e0DS0e0s 
@06¢e00¢0 @00004¢408 @9400S0e 
Dea ee009 @$00009$60 Oe" 09% 
12345678 DHes0000e%s @06$4¢04¢0060 
123456789 O@C 80800 
SB eOwPRormMrNeos 
Weave No. 29. Weaye No. 30. Weave No. 31. 
Soe000SUSUe: SOIPOOOUS oS Poe lOOselles000s8 
ee tietetat tet oeOS00O00sl¢ ©¢$¢00 @$0046¢000 
S096S00080 els Fe SOOUSS00ee00 
CeneS. O) 199% J00SS 10Se0 
S060 OCU SSS OISCleS lee 
D080 SOULS SeSUUUFo00S 
eUSLs ®@0O0Ces 90006850 
Delis! iF O%$0004e¢s000ee0 
Coss NOS 000Seso000e¢9 
ocos al @00¢¢000S9$So¢Cl0098 
e0roUSsl $$009¢0 OGO 
CAReee! DU eSsOD ee ‘ 
OOOeeO00% 
SO00#s0 
@$00Ose 
me WO POT OQQOO HHH See 


and 25 do not go mm that class, as they are simply the common 6 and 8 
harness twills. There are a great variety of fancy twills, too many to 
be published in a work of this kind, 2s they would fill a large volume 


THE WEAVING OF TWILL. 27 


alone, but these few are sufficient to show the reader the way they 
range, and are some of the most appropriate ones in use. A very pretty 
piece of goods can be made from weave No. 25, rule as follows : Warp 
1200 ends drawn through a No. 15 reed, with 2 threads in a dent, 
which makes it 40 inches in loom, and gives a good chance for fulling 
the goods. Dress the warp as follows : 
3 threads black, spun two run. 
ese blue and black, D.and T. each 43 run, twisted 8 
turns to the inch. 
ice black, 2 run. 
1 “ orange and black, D. and T. twisted 14 turns to the 
inch each spun 7 run, and a 43 run thread of 
black twisted round the same 4 turns to the inch. 


10 threads in pattern. 
Filling pattern as follows : 
3 threads black 2 run. 
1 “ red and green D. and T. twisted 18 turns to the inch, 


each of 7 run, with a thread of 41 run twisted 
round the same 4 turns to the inch. 

‘Om as black 2 run. 

ie black and white D. and T. with thread twisted 
around and made in same manner as other 
thread of twist. 


10 threads in pattern. 

Weave this with 32 picks of filling to the inch, and it makes a piece 
of goods that will finish about 13 ozs. with a melton finish, which 
makes a very pretty thing for whole suits, and very durable in services 
A nice variety of patterns can be made in this manner by changing 
the threads of double and twist and using different colors in various 
ways, but the ground-work should remain the black yarn, as black ig 
preferable with high colors in patterns of this kind. 

Weave No. 23 makes a very pretty little twill, and is used to quite 
an extent in the construction of many beautiful designs. For an il- 
lustration of one, see plate No. 1, pickout No. 2. This shows a 
very pretty design, produced entirely from the six-harness twill. It 
may be observed that the pattern runs the same in both warp and fill- 
ing, and in order to produce this it is necessary to build the loom chain 
the full length of the design, as marked off at the left hand side, which 
is the weave, and the warp should be drawn in as marked out at the 


28 THE WEAVING OF TWILLS. 


bottom. By taking the top of the pickout as marked thus, } 4 it makes 
a very nice combined herring-bone stripe, by drawing in same way as 
the original. This, of course, could be produced on the six harness 
cam loom. A good rule for making this pattern is as follows. Warp 
1620 ends of a dark slate drab spun 3? runs, laid out in the reed 36 
inches inside of selvage. This would require a 15 reed 3 threads in 
a dent ; filling to be all a light silver drab of 4 run, with 50 picks 
to the inch, and give a close finish. 


ON THE WEAVING OF DIAGONAL CORDS. 29 


CHAPTER VIII 
ON THE WEAVING OF DIAGONAL CORDS 


From the preceding examples of plain and fancy twills, the weaving 
of diagonal cords will be more easily understood. They do not, how- 
ever, take as extensive a range in the general production of cloths as 
the twills do, at the present time, but are used to a greater advantage 
in the weaving of heavier weight goods, for the reason that they are 
more adapted to the application of backing threads in both warp and 
filling, and also have a larger quantity of floating threads. Weave 32 


Weave No. 32. 


roar iat ier ee tt 
c OM OOOO O98: 
OOO IOOLIMO> 


2 OF OLIL 


= 60004 64Oe¢e004 
~@ee¢ee00G 0 e0 elle 


2 OC) 


ory 


shows a good representation of a cord. It will be seen that, in the 
weaving of the filling, every other thread acts as a backing, while 
in like manner one appears on the face of the goods, and the largest 
float in the filling is the face thread, which is 4 up and 4 down alter- 
nately. 

In the warp it will be seen that the co.d is formed by the floating 
of seven warp threads over the filling, in succession, while the weaving 
between the cords is done by the raising of three warp threads in 
succession. Therefore, it will be seen that in the operating of the 
warp threads, that 10 are raised and 6 dropped in succession to every 
16 threads of filling. This causes 2? of the warp to be woven on the 
face, while only 2 are woven on the back, and 3 of filling woven on the 
face to 3 on the back, which makes a warp face piece of goods, and 


30 ON THE WEAVING OF DIAGONAL CORDS. 


as a general rule cords range in this manner, there being a larger 
quantity of warp on the face than of filling. 


a 


ave No. 33. 


ose 


O 
a 
Bie) 
OSL eee¢e00e 


~ @CODDSUL SUG ee4 


O 
@ 


© HO SOOUDSLO ei eees 


4 FSOOSODDDSO0S 
~ SM SOOSOO0080040 
~ 6Le@eo 0080000 


= DOO eeeo00 


Weave 33, however, shows a cord that has a filling face, as the 
largest quantity of the warp is thrown to the back, while that of 
filling appears on the face. This makes a pretty cord for fine light 
weight goods, for which a good rule is as follows : ‘Warp 1600 ends of 4 
run yarn, all black, drawn into a No. 10 reed, with 4 threads in a dent. 

Filling a dark steel mix of 3} run yarn, with 40 picks to the inch. 
This will make a pretty pattern for a whole suit, or any part of one. 

For an illustration of a nice large cord to be used in weaving wors- 
ted coatings, see Plate 1, Weave No. 34, and also Weave No. 35, of 
same Plate, which is formed from the first 24 bolts (at the top) of 
weave 34, but is repeated to 48 bolts in order to show the manner in 
which the cords unite, which makes a very pretty pattern. The 
warp threads in both patterns will be observed to have a float of nina 
threads where they form the cord, and in weave 34 the filling-thread 
for face has a float over seven warp threads, while the backing threads 
float under six warp threads at the most ; but in weave 35, the filling 
thread float on the face is woven in at the center by the rising of one 
warp thread, while the backing remainsthe same. This floating thread 
in the other weave can be changed as in this, which would be an im- 
provement if using coarse yarn, and also weave the float threads of 
warp in at the center, which would cause them to weave the cord 


thus: 4 up 1 down 4 up, in succession, instead of being 9 up in succes- 
sion. 


ON THE WEAVING OF DIAGONAL CORDS, 31 


Weave No. 36. 
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O@@¢lU04¢0¢e0000es0e0ee0505 
DOSe0e¢le¢e00004¢e095056¢6eC0 
DOUOS40494¢00004¢0¢¢ 00 1G OO 
DOOOM@C#e0O00¢e¢0¢08e00Olee 

O@04@000064¢04¢CO0e60000e 
©¢0@@000044U9¢000084¢000) 
© 160 UO@@¢0Ce0¢e@0000e¢e@ 300 
O¢?@0O0084¢0e: O@900004e09 
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DUCLO@SD ¢0D0DS640000ee0e0ee 
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OO@#@0@0¢60000¢¢00060468C6 
DO¢Sl@050044¢0000$406l4¢e000 
®¢_¢600 @eO00COLlS—¢e@0000 
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DODDS S0b0S0es0 ee0e0es 
How hone roo Sowa ers IwBosS NESE 


Weave 36 represents another very handsome fancy cord, which is 
intended for worsteds, and from this same weave several beautiful 
patterns can be accomplished. It is also appropriate for the weaving 
of fine goods made from common woolen yarn. For an illustration of 
the different patterns that can be made from this one, see Plate No. 2, 
Pickout No. 3, which shows a very pretty diamond, and to weave the 
same, use the half of the Pickout, whichis marked off “ the weave,” and 
draw in according to the drawing in draft, allowing the figures at left 
hand to represent the harnesses. To make a herring-bone stripe 
from this design, use only the top half of the present weave (which 
would be the 24 bolts), and draw in the same as for the diamond 
figure. A very good rule for using this weave is as follows: Warp of 
2,400 ends of 5 run yarn drawn through a No. 11 reed, 6 threads in a 
dent. Filling 5} run, 80 picks to the inch. 

Another very large pattern for a diagonal cord is weave No. 37 on 
same plate, which requires a 48 harness loom to weave it, as it cannot 
be reduced any. This weave is made similar to No. 36, only greatly 
enlarged, and there are two rows of figures between cords instead of 
one, with a little more float in both the filling and warp threads, 


32 ON THE WEAVING OF DIAGONAL CORDS. 


Weave No. 38. Weave No. 39. Weave No. 40. 
®SS00409e4e008 @#@_¢¢¢00000 OMS Sl e00lese0 eee 
@@0e00Ulese0s DUM*0 ee 6004 Sel See00lelseeo 
SLOSS DOGO D@#e0¢ee@0000 SeeLlO0Seol04009e60 
SOLS OU O00 DOLSs0¢440 08 S00 S0esel0e4e6Cs 
DDSOeFe00ee¢ OOM@#*0e¢ee000 eo SllO0 eeeleoele 
O@0O00@-. @O000¢#U¢e¢00 €094¢000404690e8 
SOSUUl DOO#4#s0e¢e¢e00 SUU0GeS 0600 eee 198 
LOGO 0S 00609 DSOUL4¢e0eee0 JUS OSS Sl Seel eee 
SLO OOSeO00 OO00SSe0e¢e0 OSUOLD e+e eoe04eo8 
DOD e¢09oeCs UOS0Ll04e04e4 @S e000 elees  eee0 
@OU0C! i OUUOUMe soos Loe¢lelle¢e0eee0 
oO a 2) SU0STD088 lee @064646 0494286600 
e650 rO @UUDOUS Foes NOUUSHS0 eel eee0e 
eee 10 @O0US000eel¢ I j\¢046¢o 0646006 
DO®Os > oO @¢_ODU0DSeeCle @o1400¢9¢086e008 
O@00 oF ¢¢¢008000¢¢0 €¢¢00%¢¢60¢660000 
@00@: oo 07000460 D#oe09ee08¢e0800 
rh el 2] DU¢@S0TS00Ce4e DOs S¢+sCleee08ee0 
IDSs O O¢e0000le#es S019 ¢eleeelosee 
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Dee Sa *0¢@¢S000008¢ #9044 o08e804e0008 
kk > @9 14¢¢0060048 069094 S0966000 
66066400460 ¢0¢¢¢000008 O@S el eo0leesele 
@@e@e00e@e¢08e00 peice SOO0See0leleee0 

@¢¢l¢¢e006¢e0600 
@¢_+66lLlS0eee008 
Pee ora goss ese ones se 
eri LI De ds abs G ] 
pa tS dete tat OOO SOO08 ORS 
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The weaves 38, 39, 40 and 41 are other specimens of nice cords ; 
38 and 40 might be classed as fancy cords. It may be seen that these 
two weaves are very much alike ; all the difference is that 38 has a 
single cord, while 40 has a double cord, which requires 4 harnesses 
and 8 bolts of chain more than the other to make it. Weave 41 is a 
nice specimen for fine goods, and will make a smooth and even cord, 
while the others are more adapted to the weaving of coarse and . 
heavier weight goods, without using any backing threads. But for 
the manufacturing of heavy weights, designed for over-coatings, 


ON THE WEAVING OF DIAGONAL CORDS. 33 


weaves 42 and 43 are more appropriate. It will be observed that in 
weave 42 the harnesses 2, 4, 6, 8, 10, 12 and 14, weave a backing to 


Weave No. 42. 


6S TUCO0US0S4e4 
DO@US0004¢04080 
OUUDOUU Se oeSee 
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DOUDslese8seee00 
@S000@0De0e000e¢0 
DUS0e¢e8eeee0000 
OHO@0S06000e0e0 
Slee ¢6@000000 
@O@04000608000 
@eseeo000000460 
S@OSO00S080004¢0 
@@Ooo0000LU040e¢s 
@SODUBOS00D080¢0 
BB BB B BB’ B 
Hew araynos= woe 


the warp, and that every other pick of filling is a backing thread, and 
as the largest quantity of both warp and filling are thrown on the 
back of the goods, it makes a nice weave for using waste and other 
inferior stock, which can be worked up to a good advantage. 


Weave No. 43. 


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34 ON THE WEAVING OF DIAGONAL CORDS, 


The weave 43 has no backing in the warp, but has a very heavy 
one in the filling ; it will be seen that the warp threads float over nine 
filling threads in succession, which forms the cord, and there is also 
the same float in the backing thread every alternate pick, and for the 
reason of there being so much floating of threads it will be necessary 
to use a large number of ends in the warp, and put in all the filling 
possible in order to have a firm piece of cloth ; otherwise the goods 
would have a very loose feel, which is called slazey. Such goods are 
not very profitable to wear, and neither are they very easily sold, 
except to those who are not judges of this class of goods. In addi- 
tion to the Diagonal cords, there is another kind known as_ the 
straight cord, which will run length-wise and cross-wise of the cloth 
at right angles, if desired, or either way single. 


Weave No. 44. 


Weave No. 44 shows a specimen weave for this kind of acord. It 
will be seen that it is simply a plain weave, with 4 threads drawn on 
one harness, or 4 harnesses to operate alike, according to the weave, as 
marked through the center. Each four harnesses form a cord by 
themselves, warp-ways; but if required to have the cord run filling- 
ways, then it would be only necessary to turn the weave around so 
that No. 1 harness, as it stands now, would be No. 1 BoJt of chain at 
the top, and the top bolt as now would be No. 8 harness, according to 
the figures at the right hand side of the weave, which would indicate 
the harnesses, while the figures that are at the bottom now would be 
on the left hand side, and indicate the numbers to the bolts of the 
loom chain. This class of cords are often used separately from any 
other weave, in the manufacturing of many nice patterns, but is used 
to a greater extent in combinations with other weaves. When used 
separately, such patterns are often called Basket ribs, especially if 
combined like weave No. 45, which will be spoken of further on in the 
work. I shall drop this subject, and also that of diagonal cords, 
here, believing that the reader has information enough before him to 


ON THE WEAVING OF DIAGONAL CORDS. 35 


Weave No, 45. 


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give him a good idea of this branch of weaving, although there will be 


other illustrations brought up that will also help in more fully under- 
standing these, 


36 THE WEAVING OF VARIOUS KINDS OF RIBS. 


CHAPTER IX. 
THE WEAVING OF VARIOUS KINDS OF RIBS. 


Taking the various kinds of ribbed weaves combined, and they 
probably form nearly as great an assortment of beautiful fancy 
patterns as any other branch in the art of weaving—although at the 
present time of writing there are not as many ribbed patterns in style 
as have been heretofore. The three principal kinds of ribs are known 
as the Plain straight rib, the Diagonal rib, (which runs bias witb 
the cloth,) and the Basket rib, which sometimes goes under the name 
of “cords.” With these ribs, patterns of various figures can be 
formed, but as there are almost always a large number of floating 
threads in this class of weaves, it is generally necessary to use some 
simple specimen of a plain weave, in connection with the rib weaves, 
for the purpose cf weaving the ribs together, and dispensing with so 
many long, floating threads. In some weaves of this class the backing 
threads of filling float under as many as 20 warp threads, and in some 
instances even more, while the warp threads will float over as high a 
number as 15 or more filling threads. Such, however, are not profit- 
able weaves to use; and no manufacturer ought to allow them 
used inside of his mills, unless he dees not care how the goods are 
made. 

As a general thing, most a!l ribs can be reduced, more or less, and 
be woven on fewer harnesses than the original draft or pickout has repre. 
sented in it, and as such pickouts in all ordinary ribs do not run up 
to an extensive size, it may be well to place a few of them here, and 
not have to refer to the plates for them. The first here represented is 
Pickout No. 4, and is that of a nice fine rib, which is woven herring- 
bone style. 


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The Drawing in arte 28 threads in pattern. 


THE WEAVING OF VARIOUS KINDS OF RIBS. 37 


It will be seen that to weave this pattern by drawing through the 
harnesses a straight draft, it would require 28 harnesses, but by re- 
ducing according to the figures as marked at the bottom of pickout, 
it can be woven on 8 harnesses by drawing in like the draft, which reads 
the same as the figures are marked down. This style of pattern is in- 
tended for all one color of yarn in both warp and filling. Bolts 1, 3 
and 5 are for backing threads, of a great deal heavier weight than that 
for the face. 

To use a warp of 1890 ends, it will produce 5 ribs to the inch, as 
every 14 threads of the warp produce one rib, but there are two ribs 
in the full pattern of weaving. 


Weave No. 47. 


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Weave 47 represents another very pretty little rib. It can be woven 
by using the cross draw on four harnesses, but as there are only 11 
threads in the full pattern, it is best to use 11 harnesses, and draw in 
straight draft, as the weaver is less apt to make mistakes in weaving on 
a straight draft than when on a cress draft, especially if they have a 
breakout in the warp, which is nothing new to occur in any weave 
room. 

A very good rule for this pattern, and have 7 ribs to the inch, 
is as follows : Warp 2080 ends of 47 run yarn, dressed 8 threads light 
drab, 3 threads dark slate ; draw through a No. 13 reed, 4 threads in a 
dent, which will make it 40 inches wide in loom inside of selvage, and 
will give it a good chance for fulling ; for ribs generally need much 
fulling to make them handle well, and also to throw the rib up full and 
round. Filling for face to be spun 5 run (of same color as warp) and 
for the backing 3 run ; put in all the picks to the inch it will take with- 
out extra straining on the warp, and this will make a good firm piece 
of goods, that looks well made up into pantaloons. 


i | 


38 THE WEAVING OF VARIOUS KINDS OF RIBS. 


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Weave 48, with Pickout, shows a rather large rib combined with a 
smaller one, although it would not be thought so by looking at the 
pickout, as that shows an equal number of threads in each rib ; but by 
close observation it may be seen that in one half of the pickout the 
warp threads float over 5 filling threads in succession, while in the other 
half they float over but 3 threads in succession ; therefore this rib 
weaves the tightest in both filling and warp, for it will be seen, that the 
face filling threads weave in plain, while in the other rib, the face filling 
weaves in a three harness twill, and at the same time the backing 
threads weave in alike in both, which causes the rib with the plain face 
to full up small but round, while the other looks more flat and broader, 
which gives it the appearance of being as large again. This will look 
well made with about 54 ribs to the inch. 


_ Weave No. 49. 


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THE WEAVING OF VARIOUS KINDS OF RIBS. 39 


Weave No. 49 represents a diagonal rib, and avery good one for 
coatings. For an illustration of a herring-bone rib and a straight 
rib combined, see Plate No. 2, Weave 50, and Pick-out No. 6, which is 
a very pretty pattern. It may seem to some to be too large, there being 
120 threads in the pattern, but by using a warp of 2,000 ends, it would 
only show the pattern to bea little over 14 inches wide when fin- 
ished, which is not so large as a great many patterns of this style. 

Pickout No. 7, with weave, shows another very handsome fancy rib 
of 112 threads in the pattern, which should be made with all black yarn. 
It will be seen from the pickout that in each half of the pattern the ribs 
run at right angles from each other, and that the space between each 
is woven plain, which causes an odd but pretty appearing figure. 


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Weave 52 is another one of the diagonal ribs, and a very peculiar 
weave it is ; the corner marked off is the full size of the weave, but I have 
repeated it four times in order to better show the pattern. It will be 
seen that every alternate thread in both the warp and filling is a 
backing thread, and that the warp and filling threads both weave in 
alike, so that it does not make any difference which wav the loom 
chain is turned, it will produce the same weave. 


40 THE WEAVING OF VARIOUS KINDS OF RIBS. 


Pickout No. 8. 


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Pickout No. 8 shows another very odd and peculiar weave, which 
produces little small raised spots or ribs, and is calculated for worsteds 
or imitations of worsteds. A good rule for this pattern is as follows : 
Warp 2,000 ends of fine black worsted, drawn through a No. 14 reed 
with 4 threads in a dent ; filling same as warp, with 60 picks to the 
inch. Pickout No. 9, with weave, (Plate No. 3) is a good illustration 
of a nice large basket rib, of 64 threads in the pattern. 

Having already occupied several pages on the subject of ribs, it may 
be well to leave it for the present, for I have no doubt the reader will 
understand by this time the principle of this class of weaving, suffi- 
ciently to enable him to weave correctly not only the patterns laid down 
here, but also others of his own designing. 


MISCELLANEOUS WEAVES. 41 


CHAPTER X. 
MISCELLANEOUS WEAVES. 


The few weaves following are some of the principal ones that have 
been excluded from the preceding Chapters, and as the most of them 
are of great importance in the manufacturing of different grades of 
woolen cloths, it would not be doing justice to the reader to omit 
them entirely from this work. 

Weave No. 55. 


Weave No. 55 represents that of a common five-harness Doeskin, 
which is produced on nearly all cam looms, and is used to a great ex- 
tent in the production of fine cloths. 


Weave No. 56. 
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Weave No. 56 represents that of double cloth, so called on 
account of its being capable of weaving two pieces of goods at the same 
time, one above the other. It is also used to a great extent in the pro- 
duction of very heavy weight goods. It is frequently used for weav- 
ing 6-4 blankets on ? looms, as it produces the original flannel weave 
im both pieces, and weaves them together at each side, so that in the 
loom, or as it comes from the loom, the pieces present the appearance 
of a bottomless bag, and by cutting one side open, it gives you a double 
width blanket instead of single, as it has the appearance of being when 
weaving. 
Weave No. 57. 


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42 MISCELLANEOUS WEAVES. 


Weave No. 57 represents one kind of a Doeskin weave to be made 
on 8 harnesses, which is a very good one. For a handsome pattern made 
from this particular weave, see Pickout No. 10 on Plate No. 3, which 
will show the manner of dressing the warp, and is made of 5 run yarn 
for the single, and 8 run for the double and twist, twisted 16 turns to 
the inch, 2,160 ends in warp, drawn through a 15 reed, 4 threads in a 
dent, filling 54 run of the light drab, with 65 picks tothe inch. It will 
be seen, from the drawing in draft, that the pattern forms a fancy her- 
ring-bone stripe. 


Weave No. 58. 

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Weave 58 represents what is called a Catlin weave, as it is used in 
weaving a class of goods called the Catlin stripes, which are heavy 
goods, and harnesses 1 and 2 weaving plain, it forms a crease, while 
the other 12 harnesses weave in every third thread of both warp and 
filling as a backing thread, which causes the cloth, when fulling, to 
draw this crease up so narrow that when finished it has the appear- 
ance of being cut with some sharp tool. 


Weave No. 59. 


Weave No. 59 represents an 8-harness weave, used in making a 
class of goods that are called the Mansfield Beaver, and a good rule 
for making them is as follows: Warp 2280 ends of 4 run yarn; draw 
into a No. 14 reed with 4 threads in a dent ; filling all fine shoddy of 
13 run, with 48 picks to the inch. Weave white, and color in the 


piece a blue black. 
Weave No. 60. 


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Weave No. 60 is another weave used for the same class of goods 
as above. 


MISCELLANEOUS WEAVES. 


Weave No. 61 


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43 


Weave No. 61 represents a weave used in the manufacturing of 
the goods called Bennington Beavers, and can be made similar to the 


Mansfield Beavers. 


Weave No. 62. 


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Weave No. 62 is another one for Benningtons, sometimes called the 


Bennington Twill. 


Weave No. 63. 


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Weave 63 represents the weave used in making a class of goods 


called Geneva goods. 


The weave is also called an 8-harness Doe- 


skin,and sometimes designated as buckskin, as it resembles very 
much the original Doeskin weave. 


Weave No. 64. 
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Weave No. 64 represents that of a heavy Fur Beaver, and is a 
good weave to work up lots of card waste and shoddy into the filling. 


44 . MISCELLANEOUS WEAVES. 


Weave No. 65. 
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Weave No. 65 represents the weave used in making the class of 
goods called the Granite goods. It will be seen, upon close observa- 
tion at the weave, that the face filling threads weave in perfectly plain, 
while the backing threads are wove in in such a manner as to cause a 
fine diagonal crease. 


Weave No. 66. 


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Weave No. 66 is for a heavy doeskin beaver, and a good rule for 
making the same is as follows: Warp 2,400 ends of 5 run yarn, drawn 
through a No. 12 reed, with 5 threads in each dent. Filling 54 run 
for the face, and 13 run for the backing. Put in 80 picks to the inch, 
and color in the piece. 

The backing threads are to appear on the bolts of chain, marked 
B. The above rule makes a very good piece of goods. 


Weave No. 67. 


Weave No. 67 represents the principal weave used in the manu- 
facturing of a fine grade of tricots, which are usually woven white, and 
colored in the piece a black, navy blue, biue black, or a dark seal 
brown. 


MISCELLANEOUS WEAVES. 45 


For Weave 68, see Plate No. 4, which is a beautiful fancy twill, 
forming a diamond square, and is composed entirely from the four 
harness cassimere twill. It looks nice made in worsted or of common 
yarn. 

Weave No. 69 represents another nice pattern, formed from the 
same cassimere twill ; of the two, this is the prettiest pattern when made 
up. 

Weave No. 70 represents a pattern of combined weaves, and forms 
little diamonds of double pick in the center of eazh figure. 

Weave No. 71 represents another fancy square, diamond shape, 
composed of different size twills. 

All the above designs, which are on ‘Plate 4, are calculated to be 
for warps of one color, with filling the same, as they look far more 
tasteful than when dressed with several colors combined, although a 
warp of one color, with filling of another, looks quite pretty. 


Weave No 72, 


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Weave No. 72 represents a very useful little weave for making 
double and twist goods, when a small twill is desired to be shown. 
This makes a firm and durable piece of goods, as it will be seen that 
every alternate pick of filling acts as a backing thread, although it cles 
not float under more than three threads at one time. 


Weave No. 73. 


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Weave No. 73 isa very peculiar weave, there being 11 harnesses 
and 11 bolts of chain to form it, and when used on an all-double and 
twist warp, with all-single filling, it throws up a very full and even 
diagonal cord, that finishes up nicely. 


46 MISCELLANEOUS WEAVES. 


Weave No. 74. 


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Weave No. 74 represents a diagonal rib, sometimes called a diago- 
nal tricot, on account of the furrows resembling those of a tricot. 
A good rule to make this is as follows: Warp 2100 énds of 41 run 
yarn, drawn into a No. 14 reed, with 4 threads in each dent, filling 
for face 4 run, and for backing 2 run ; put in 54 picks or over to the 
inch. 


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Weave No. 75 is a good weave for weaving striped goods with a 
warp of all one color. It may be seen that this is two weaves com- 
bined, which is a 5 harness twill and a two harness plain weave. A 
very good stripe is made from it thus: Warp 1200 ends of all black 
and white D. & T. to be 12 run when twisted ; draw into a No. 12 
reed ; warp drawn in thus: 15 threads on first 5 harnesses, and 2 on 
harnesses 6 and 7, &c. Then reed it thus: all the warp drawn on first 
5 harnesses to be reeded 3 threads in a dent, and all the warp drawn 
on harnesses 6 and 7 to be reeded 2 threads in a dent. This will 
make the warp little over 35 inches in the loom. Filling 2 run of all 
black yarn, whieh causes a black stripe to appear where the two 
threads are in adent, which are woven, the plain weave with the 2 back 
harnesses, put in 36 to 40 picks to the inch. 

Various sized stripes can be made from the above weave, and as it 
does not require to have the warp striped, it becomes very useful in 
many instances, for the stripe wiil finish up about as perfect as though 
the warp was striped, and it looks fully as well. 


MISCELLANEOUS WEAVES. 47 
Weave No. 7 

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Weave No. 76 represents a peculiar kind of a diagonal. It neither 
shows a twill nor a cord, but has a smooth and even face, while at the 
same time there is a fine line or crease running biassed with the goods, 
which gives them a rich appearance. A good rule for using this 
weave is as follows : 

Warp 2500 ends of first quality yarn, spun 5} run, and reeded ina 
No. 103 reed, with 6 threads in each dent, which will make it about 
40 inches in the loom. Filling spun for the face threads 6 runs, and 
for backing 33 run, with 76 to 80 picks to the inch, which will make 
the goods come from the loom about 13 ozs. Weave white, and color 
in the piece a chrome black, and finish up a good high finish. It will 
make an uneommonly nice piece of goods for dress suits. 


y 
t 


48 MISCELLANEOUS WEAVES. 


The above being such a peculiar weave, it may be well to show to 
the reader the manner of its construction, which, as will be seen, is from 
the arrangement of the bolts (or bars) of three separate weaves ; and 
to make the illustration more fully understood, we will number the 
bolts of the chain (commencing at the top) from 1 to 48 on the right 
hand side. 

Now we will take bolts numbered, 1, 5, 9, 13, 17, 21, 25, 29, 33, 37, 
41, and 45, and number them on the left hand side of the chain, from 
1 to 12 in rotation, and set them down on designing paper. We have 
the following weave No. 1, which, it will be seen, is a 12 harness 
diagonal cord. 


ud 
> 


eH eoee 


eee? 
OOOO OOS * 


& 


ial. J 
SOOO OOO U) 


ue COO Sor WW ms 
OOO e0elee 


BPE 


e250 1% 9966 
1 


; ees 
a8 


Now we will take the bolts numbered 2, 6, 10, 14, 18, 22, 26, 30, 34, 
38, 42, and 46, and number them from 1 to 12 in rotation, and set 
them down on the designing paper ; we have the following weave No. 
2, which is simply a 4 harness cassimere twill. 


1/0084 }B® 2 
2 b SUC 6 
3 & oO 10 
440¢@00 OD 14 
5 DUSSD es 18 
6 COU es ®O0@ 22 
7 @900e: 900 % 
s D@®O0 8 30 
9 UU S@0 Le? 34 
10 BOO SS FOO 38 
11 S6@0C @O0 4 
122 OSC! Se 46 
Mec mo ©eonw 


Now in like manner take the remaining bolts, which are numbers 3 
4,—7, 8,—11, 12,—15, 16,—19, 20,—23, 24,—27, 28,—31, 32,—35, 36,— 
39, 40,—43, 44, and 47, 48, and we have the weave No. 3, which, it will 
be seen, is a diagonal cord, but is not a practical weave to be used alone, 
for every thread of warp floats over 22 threads of filling, which is too 


MISCELLANEOUS WEAVES, 49 


Weave No. 3. 
1 SU BSCSORSOSOSOS 3 
2 POC SO CEO 4 
3 SOHUGHODOOOOE 7 
41 OO 19OOCROOOOH 8 
5 BODO SOOODS SSO 11 
6 COO ISOBHSOOCSS 12 
7 OP PVSELOOO OOS 15 
8 HHSC OOADOOSOS 16 
9@ FO CO IFO HSOS 19 
10 OHSS PI SHODS'S 20 
11 O49 O94 DO BSSS 23 
12 OH OOOO I1BOSSS 24 
13 OH DS SSOOISS O'S 27 
14 GORDO SSISO OSS 28 
15 MOOS OOOS_ OOS 31 
16 VF SCOOOODISOSOS 32 
17 O@ESSOOOOOUOS 35 
18 O29 694 OOS 08 36 
19 FH OSHOOOSOSSS 39 
20 OO 9S OOO OOO S 40 
2| OO VOD DOSSOOL 43 
22 S9SOSCODOOSOS) 44 
23 OOS OOOOH OOOS 47 
4 OS OSOOCOCEHaBS 48 
rPwew RUS NwWO Sra 


much of a float to be used warp-ways in woolen weaving ; but it will 
be seen that this weave has two picks of filling in each shade, which is 
done to help form the crease in the original weave, and also to have a 
backing thread for every face thread in the goods, as this is the weave 
for the backing, while the Weaves No. 1 and 2 weave the face of the 
goods. 

Now, by taking every alternate bolt of this backing weave, which 
would be numbers 3, 7, 11, 15, 19, 23, 27, 31, 35, 39, 43, and 47, we 
have the Weave No. 4, which is such that it can be in many instances 


Weave No. 4. 

1 PUSHOOSOSOSSS 3 
3 OF 19O6OSO OOO 7 
5 OOO 19OOO OOOO 11 
7 BOOS 19096 OOO 15 
9 FO SSCO_FOHOGS 19 
11 090006600 03 
13 $9 OOOO OL)OOS@ 27 
15 OOO O6S6(1066 31 
7 000666699 1S 3; 
19 09 OOOO O9OS 1% 39 
2 Seeesesoese! 4: 

47 


23 ePPeeesese 


an 
Heo RTaaIas So re 


G 


used by itself, but is the more appropriate to be used in connection 
with other weaves, as in the above case. 

It may be found by a close observation that many of the plain and 
fancy diagonals are composed in a similar manner as the preceding 
diagonal that has been here fully explained ; and it is hoped, from these 
explanations, that the reader may be able to take various twills and 
cords, and with them combine many nice diagonals that may be of 
great use to him in the weaving of various beautiful patterns. 


50 COMBINATION OF WEAVES. 


CHAPTER Xi. 


COMBINATION OF WEAVES 


The combining of weaves is one of the most important branches in 
the whole course of the fancy weaving department ; and, as it is some- 
what complicated, I shall endeavor to show up a number of very nice 
designs, which, it will be seen, are composed of two or more weaves, 
some of which cannot be reduced to weave on the ordinary 24-harness 
looms, but none but what can be made on a 48-harnessloom. I might 
occupy more space, and use up more time, in writing out explanations, 
and giving the rules for making cloth from every pick-out and weave 
published herein ; but, as it would add to the cost of the book, and 
believing that not one weaver or designer would ever use the weaves 
just as I would lay them down, it is unnecessary, as the pick-outs 
on every plate are laid out so plainly, and the figures at the bottom 
showing the manner they are reduced, and also the drawing in draft, that 
any person of ordinary intelligence who knows the principles of the 
loom, and understands anything about patterns, ought to be able to 
perceive the manner each pick-out is composed of the separate weaves, 
and to be able to take from them such parts as he wants, and com- 
bine the same with other weaves he may wish to use, and get 
them in a correct form, without any further details in writing them out. 

There will be found, on the different plates, pick-outs composed of 
various weaves, and no imaginary ones are inserted. They com- 
prise weaves with and without backings, some of which are very simple, 
and others of a somewhat complicated design. There will also be seen 
some weaves that cannot be reduced, which will require a 48-harness 
loom to use them. Such weaves are simply shown to help the reader 
form new ideas, and be able therefrom to compose weaves of his own 
designing. Several of the largest and most complicated pick-outs 
shown on the plates are of late designs, of foreign make, and it is hoped 
that they may be appreciated, as they certainly show for themselves 
that they must have been produced by a master-hand in the art ol 
fancy weaving. 


TABLES AND RULES. 51 


CHAPTER X11 


TABLES AND RULES. 


Spinner’s Table, Showing the Number of Grains to 50 Yards of Yarn 
from 1 to 122 Runs. 


Runs. Yeains. Runs. Grains. 
| te ee 218.75 Alisa tes anerlat Wee agenne ote 31.25 
sl i 175 Ogee aa rcierare a apapers sagee 30.17 
i ae 145.83 , 29.165 
en. 125 (Pee nr 28.225 
7h aS nn Fine pene 109.375 O Gas aemes sit Gigrotnes Luts 
eh, Dn Rate De 97,22 Siias.ea avs eeamnesn. -2OvoLs 
Up ahaa a SiO War a: wi igs esos ke a st 25.735 
ye eS TD.995, | Ober niy 6s ooo 06 6 55 ms 25. 
Cth ae 0. Seeeeay 72.915 Oa. nee tee e24sa00 
3 a eae GT AO) Wi eOors oevas.e aiaetalers nyse oe 23.645 
See tio Fes a. 62.50 Dhan ee eoie ere wine © aes 23.025 
Cet Wat Sere ego sestss Vivar. Ou yeeciee ares 22.435 
iN, 2 enone 1 eae 54.685 NOD ere. ised etm ret 21.825 
As. sake 5 694 Peele yp MOA eiarwve wate tdare Giese es 21.34. 
BM Bee Clk s'3 48.61 Lee seared. Ge . 2083 
a eee eee AG 1 ar eer 2--- 20.35 
gato! eet 43.75 TS ease oes thensiaaer oer 19.885 
SO eee 41,665 11}........--. ---.. 19.44 
iy. i eee . 89.75 V1g. eee ee eee ee 19.02 
hy ae Se . 88.04 he erence me 18.61 
(ae lien ee SC 455 WO, ndisnd eral avsis sepa eeees 18,225 
(Sty 35. TDI Satie. -. 11815 
eee ete FOLD Paar) exces ost 17.50 
Be iiatrei as aGicues sta: 32.455 1 a eae 17.155 


This table is very convenient for finding the weight of double and 
twist, when two or more threads are twisted together; for instance, 


52 TABLES AND RULES. 


suppose it is required to make a three-ply thread of twist from the fol- 
lowing threads. Example : 


1 thread of 9 run, 24.305 grs. 


1 TES S885. < 
1 os Toy SILZ5 e 


75.440 “ — 8runs. 


By referring the sum 75.44 grains to the table, it will be found to 
compare the nearest to 3 runs ; but as this is making the yarn lighter 
than it figures, andit being subject to taking up more or less in the 
twisting, it will be near enough for practice to call it 23 runs. For a 
more exact calculation, the table could be made out for } runs or 45 
runs. 


A Tasue oF Retarive Lenerus or WorsteD aND Woo.Len YARNS. 


300 yds. Single Woolen Yarn................2. 1 cut. 
1600 yds.“ ss te ae ale 1 BiOeS chase Us 

56O'yds... -* ‘Worsted  “ .1. 5 0 say cutee 1 number. 

Comparison. 

DS Cab Warns etc et ad ee 8,400 single yds. to 1 Ib. 
BER On: rates smeeece ee 8,400 “ 65 te Telos 
No. 15 Worsted.... .........-. 8,400 <“ ae CO Letlloy 
One pound 2-ply 36’s worsted yarn contains 10,080 yards 

« af «40's if ; 115200 3 

‘ S « — 45’s s . 12,600 “ 

a # « — 50’s i rf 14,000 “ 

< s « 60's e “s 16,800 “ 

ss « single 36’s te ss 20,160 “ 

< - « 45's < ef 25,200 “ 

s « — 50’s i a 28,000 “ 

- < «  60’s Se . 33,600 <“ 


Or nearly 20 miles of thread ! 


Rute ror Ascertarninc THE WeicHt oF Warp AND Finiine IN a Sin- 
GLE Yarp oF FLANNEL. 


Divide the number of ends in the warp by the number of run fine 
the warp is spun, and the quotient 1s the number of ounces of warp 


ABLES AND RULES. 53 


to the yard, by pointing off two figures at the right. Thus, for ex- 
ample, suppose you had a warp of 2,100 ends of 5 run yarn, how 
many ounces are there? Example: 
ee | 2100 ends in warp 
4.20 = 41 ozs. warp to the yard. 

How to find the weight of filling to a yard of flannel, multiply the 
number of filling threads in an inch by the number of inches the 
warp is laid out in the reed, and then proceed same as with warp 
Thus, for example, warp laid out in the reed 40 inches wide, with 55 
picks to the inch, how many ounces are there, supposing the filling is 
spun 5 run like warp ? 

Example. 

55 X 40 — 2200 — 5 = 4.40 or 4 2-5 ozs. of filling to the vard of 
flannel ; now add the two sums together, and you have the weight of 
stock to a yard, warp 4.20 ozs. 

Filling 4.40 “ 


Total 8.60 “ 


Now, in these calculations, there has been nothing said about sel- 
vage, and as the warp takes up more or less in weaving, it is well to 
calculate from 4 ounce to an ounce and a half, according to the amount 
of selvage used and the kind of weave employed in the weaving of the 
goods. 


How to Make a Yarn Tasce ror 50 Yarns, or Any Otrner Noumser. 


Take 1,600 yards of one run yarn, and it will weigh one pound, 
(Avoirdupois) or 7,000 grains, and divide it by 50 (or any number of 
yards you wish for a weighing). Then divide 7,000 by the above 
quotient, and the quotient obtained will be the number of grains in 50 
yards of one run yarn. 


Thus, 1,600 — 50 — 382. 
7,000 —— 32 = 218.75 grains. 
Then take the 218.75 grains for a dividend, and the weight of a 
weighing for a divisor, and the quotient will be the number of runs. 
‘hus, for example, supposing the weighing weighs 35 grains, 
218.75 —— 35 = 6.25 runs, or, 6} runs. 
The above table is to facilitate finding the weights of yarn, where 
you have no printed weights or tables to refer to. 


For the Manufacturer and Operative. 


Manufacturers’ Review 


AND 


INDUSTRIAL RECORD, 


ESTABLISHED 1868. 


Tenth Year, Volume X1. 
>+@r—- 
The Oldest Journal of its kind in the English Language, 
AND 
THE ONLY TEOHNICAL PUBLICATION IN AMERICA 
FOR 
EXTILE ManuFAcCTURERS, 


Dyers, Carders, Weavers, Designers, Spinners and Finishers, 


PUBLISHED MONTHLY, 
And devoted to the Technology of Textile Arts and Dyeing in all their branches. 


Price, o $1.50 per Year. 
ee 
THE SUPPLEMENT, 
Published about the 15th of each month, contains, in each Number, 15 new drafts 
for Cassimeres, Coatings, Over-coatings, etc., with full working directions and drafts 
of chains. Also from 12 to 20 approved dyeing recipes, illustrated by Dyed 
Samples on cotton, wool and silk............ccceceeeeee Price, $3.50 per Year. 
abe @ 0 ee 
THE RECORD AND SUPPLEMENT 
Together, $5.00 per Year. 
They are worth many times their cost, and should be taken and read by every 
mill-owner, and by every employee who desires to attain proficiency in his work. 
Address PETERS & RICHARDS, Publishers, 
55 Reade Street, 
NEW YORK. 


P. O. Box 1396. —_____— 0 > 
WE ARE AGENTS FOR THE 


PATTERNS OF A. LEHMAN, Paris, 


Whose warehouse is celebrated for its styles of 


Cassimeres and Suitings, Prints and Ginghams, Silks, Dress Goods, etc. 
Manufacturers will find great advantage from using these patterns. Samples can 
be seen at our office, and full particulars can be obtained by application to us. 
a 
WE ARE ALSO AGENTS FOR 
THE TEXTILE MANUFACTURER, 
OF MANCHESTER, ENGLAND. 
We have on hand, at all times, DESIGNING PAPER of all styles, at retail, or 
in ream lots. 
PETERS & RICHARDS, 


55 Reade Str 
P. O. Box 1396. : ooh NEW YORK. 


INFOMPaRG@ an 


For the benefit of those requiring Samples Dissected, 


I have published the following 
PRICE LIST. 
For ordinary samples, requiring— 


From 4 to 48 bars of chain, $1.00 each. 
ar 40. f° 4604) *© 2S - 150° = 
BRGOmes 72 8 Hk BIg 
Ear veg4 -8 OBO st 
Epa em GG: OF hy “8 -9B.00 


And for each additional bar thereafter, Three Cents. 


All samples sent to me for the Weaves and Drafts, and 


instructions for making the same, will be promptly attend- 


ed to, and returned at the earliest possible time. 


A, A. BALDWIN, 
Brasher Falls, 


ST. LAWRENCE ©CO., N. Y. 


1 s 
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*s 
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2 * 
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2. 


Plate No. 


PICKOUT No. 


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B @cecelecececeneD 1e0000000e" Slaielelats( teintel ‘elale[ ialelainia(ele no ee eeeeeee 8&6 
Front. The Drawing in Draft.—112 threads in the pattern — 
PICKOUT No. 6. 
cee der el Sr fe SL a eee der de deh et dere ere eter (tea el ede fete ee Deneceoeoenec 
B— e OCS CelelSO0s0 eos De0e *ecersres 
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* Serscecees sisdeldtete ssisetetece ste sceses geese Se 
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if 24 


Plate No. 3. 


‘6 "ON Laowold 


| wana x eng WEAVE No. 33. “nyeqO JO slog gfF—juOIT 
| 0. 57. ry Osoeo0eone De eS 00S O00 Se00 ee0s e000Sel ee00Uesen00Ues0s0 
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seisce eget Anema 
3 ABI JCI o6¢ * ei o 
DeeOeeee = Oe@eeO0L DI0¢S es olesooee soe elm al Fl peereey 
Oeesenes a Warp @ee0@00 @_DDe¢@0ees00esU0 ee tse see 
eee J@0@0e0 @S000es0Se0Llee00e Oo (00 Ose 
ee0eeee0) = Dressed S0e80404 O@@*#0O0lss09es0Le60 oe 
“Ber aes® aise: success! sonsscoreerseen es tle 
DOD0000 + SSCOPSSs Light Drab. DSOOSeU een "eeleeconesseonss aie 
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O 2 se@ee0Les . rs S0S080e00ele0e08 
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Plate No. 4. 


PICKOUT No, 14. 


“‘quoly 


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MOO BUD IMS OMD 


The WEAVE No. 59. 


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sare Claseriae ater s iter ae arisS*s oh adteo. *Seht gee Lee 
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jwial. 2 t(aleiat Ielmlg YS’ Iulelal lalla {1 Jala < J ec ge ogc Sateen ee wenn 
eee tata telat a Obese Cosseaue relat t ietet + eta tielat deh tae 
4-4 OSOUOO PK al 10 O@9@00 @e0U0e6Cleenck - b 
**COUSUOO See lOCRCe lL eeeOOleeen edrrneh ae hele | elec Sek lee fy 
#* O0@lU0sesUOl| eee lees ecoleee eC esO eel Se] lee 00ee lOe6c: 
DOD@OODSSe 00S ee eee eeen ee PO ee ee eeCUseC Sel seC le 
COCUOOees lODesislese lees elcce paeiak + mle + alee 4 lela 2 Jalal fale 2 
OSOUL#e@ 86S 886 OSC O06O0! att ele ata Sete ee ie 
poise ti uaet Lest ee ianert aa as oles in eats pata Pita A 
db A J L} [ S i, (I ) 1 To & aaneee 
# CUSseCU eee igsie see lieee. oe g ¢ Se escisecteel sect sec tte 
» Bi. d OOo 1e cd im YY Ter ~ 
elcie se atelel te 2d 3 elelet 2 le ial Pas mart eat ec eecee sere 
SOUS eSS OSS ese Cleese CneCoce eectes fat ete eet ele 
aA pase leceies Ce#ec oslo les met fale ¢ dala {Jala Jalet 3 yale ¢ tale 
a jal ox #000000 JDUe@#o00e *e00¢s00¢ 
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CO@*e*O00Seel[O0enOOeeelOesle CO®ellesOlUeelleelescoest cess 
*@00S*#S00OUS0 00 e05086e008e le. OC MelOeelee nL seccescoeec. 
Meise "Ste cctalt eget esea” Ssescces’cessce eee eer cetces 
0 , i 40 ODe800 met \. jaw: ialmiet te : 
DOSS eee ColnLesec esc BCLs gae Coaeen nee ce Tee ee Leese 
IDOMORDANDTMOOGCKH CWT MNnOODroNtDE - c 5 Pana PE a aon 
Sees See me aoe CO@*400eslI4#¢00e060 es] en} oO 7% = ODO0OO00000! oO 5 
OOOBDOOOU0OCSe&CoOoCKooDooOoGoooOO @#600¢400660 Teaser as a 2. ‘ satel nee 16 OOCeeOdosoueseoeeseeS Bee 
C IDDOODOTo00cebeoootbouooDoooo OO®e06*00S0¢¢0lOe eles loeenlee 1s OOOCOND0SO0Snoooo000005o oo 
DOCODOOODGCCOBEsOocce¢ 0000000000000 6 #6081 60eS0lee nls ) "66CO'4 ODOOCODODCOo00000nrRonEa no 
DODOGCODDDDODSoSesooo00s0Dn000ncHooa pane + jeiet teh + jeler fala) i 4 ‘oee13 COOOOUDDDDo0000000b0rn sini 
OOBOORCCO0CGeooDoooooeoo0oDoc00bo0c) 6 600 S0Se00O40086D 112 COODUSB00coooDRb0nrRoroOoe fal 
ODOOOGUCOODOSOCOCO0D000S8D00000000 4 DO@0@8CDS: 4 ‘eon Re 11 JOOGOCO0RDooobD000neon ar 
OOOCOCOooOsoooocooobobbnso0o000cg00Rg 4 @lee00ee0 i Cl 010 OOS00o000000g5o00og0R8o005r 4 
DOODDDDOoSoOnoDoo0Do0o0c0eo0o00000c0C > @ol*@O0Cee00eenne r4 O9 OOO0000000cbo8oRe50R0000 a 
OCOOOOHOSHOb0 S000000000Ge 0000009 4G ULSe¢00ee0leenc E @s DOCDS0S9000sco9005n0Nn 
DODODOCEso00000000000g05200008 3 s0000 = OPIS S0S00SCL0O6 JD06800 % OOCD900Sb0soo000co50000o9s 
OOODDOSOCCO0Ob0RbDODobeb00zu0g20Cebe80700000 > UD@e0ee0e00eeo fl oo 6 Ooobooes9000cn0noeo50g 
OOOCOSO00CODDRDoobEoo000CcnoeooOoo 2 @6CLee¢0lee0eLD0ee00 os BOOOSenoooosooo0R00sSooge 
Oo OS@oo0ooogoDooooboaDoooonoee00o0DecOoo & DO@S60O0ée00ee0e00e Does 4 DOoUsHDO000000R00070000bn 
DOOSOU00Roooob0obgubbbbeooooOooooOsOoO #0068 0 9e00es600¢e0 00e@3 Olenooeoccecon0seooo0800o 
OO@OOOGOOog00ooo0b00cg0bE0g20200000uuu0u080 SeLUSe ee leelece OOs®oo2 C@lD0b000RSnoSo0ne8s0o00a conor 
g gassqqo9csqqq00s0o0 ooodo0noouE e#e¢00ee50ee0 etait Y jee tater Yim + tah 0950 SOUSSOOUeT OCS Cooeco 
OOUDDDOOUROO00GG Front—32 Bolts of Chain, The Drawing in Draft.—32 Threads in Pattern. 
Drawing in Draft.—32 Threads in Pattern, 
PICKOUT No. 12. 
el es0 ee lee lee oleelles sent 
sist 2 lett eiele + jalet  jalel @OLUCSCOeelee 
Oe@elOSellee¢lesoOlsellee llese0lleel 
@OlOSS0CeSCOOOPS0lOe0lO*00eeCcee00 
@OOSSlOSSlOeSl eel leeoleeoloeenne 
CO@S009S00e0lleelleeloeselesl0ee 
$@ JO@SOOSSCDU0eCl S¢00eeODOSe0OeeL 
@@lLOS¢00SO0 Del IO eel leeleell Sell 
@lOSS009¢l0SelOeseleseOUleelosecoe 
DOS*00eelU6S006e00l0es0secCceeOlSee 
OeSU0Se lee LOSSlOSCllSelUee00se0 
@elOSe000ee les lOeeoles0oseloeeL 
@l0S@ 09980 0eellOeelOMelleeloeeo0e 
C@¢lU0es0lee0eelleselleslleellee 
OSS 09 SOLSS00SS000Se00¢e00ee00e6e0 
3 SS UOLSSO SSO lS Se00Se00ee00Se50 
3 @USe00 SOLD Se0leellOUSsel0eelOsel0e 
5 OOLSS0l@¢s00ee0l0ee0e600ee009600"e 
SOL SS0USC0 le SO UeelLOsellDee lee 
@SOL6S00eS0Le@00S08¢006e00ee00 
DeS00eSOlSe0leS0lSS0UleelOeelee 
00660060 lee00SS00ee0¢¢0Cee 0008 
60066 0L46000e00¢68008S0008e 08850 
DSSO0S6006C0l Sell es00¢e0es¢000060 
OOLDSSUSe0U SSO 0SSCUSSlles0Usellee 
®USS000OS0Des000S80les00ee 0068008 
eels lee006800SS000e0088008800 
®90DS60006800Se009e008600ee800880 
@UOSSU0SSOOSCOl SSD LeSCOLeS0les0Les 
DO@S00@el00e¢S00SS0leSe0Ces00ee008 
DSS O0SS00SS006009S00¢80088008800 
#6 OS#006600US6009S008800e800e89 
123452647 2849 210411212413 2144 152164172184 PICKOUT No. 13. 
et mel + ae ee te eel te Deeoe ® QODOOGROOS Ras sar eeraconeeogcs SO C860 Baek eee WPL eee ee 
@S00S@0US80l6600¢¢0600e800 IOOOOOoOOODOSao000cb00o0sp0D0eq00 1a @oLUSe00eslleslles 
riety tala Cele 1 taney telat er 1 Fete 6 OSC SOOSSSO Se o0S0000o50500s50ss e050 Ses_iee es Lee 
DOS 10C09S00S40LeS00C6C008066800800 5b DOOODD0DDIDDCORO0s0000008o008b0000 o0 \9@ 06s 00¢e00 
@00S¢00¢0eS 0 les ¢@00e¢0ee 0S# 064 GOCOOCODCORSCORRG0000056c00C5r000 eel Se0lesCoo 
O@@O0@6006CS6¢ 00680060 eelle800¢e@0 8 CODDOODD000DSGC0C0Onso0uc05009c00 D¢oO 0 ee00eo0les 
*LUS¢0046l¢009ell ees 0e6l0ee006 2 COOOOCODUSDS000RDObeooocEeeoo0005o05 Oe OMe OSM lees 
O®@0060S004¢00604¢¢008600 880660 1 CODDODOCCOORG00S*¢oo00o0nRb000000 UOMO Sl eeen 
4 o0ellee0le e095 i 110 OOOO oCOOL Cougonocooocos eel ssl @eenn 
SLLU@S0600@4elCeleellese lee ®00@ 10 09 LOSCOOCO@S000 *0e¢00¢ellee¢e00 
O*#S0S006¢ 0e0¢eD lee les00ee00ee0) COOCODDDDRDROOS$00000S00Cce0cg000c000a Ue sl0gelOeeelee 
SUS@00De@004l¢¢0lesllesolesl0e8le0s DOOOODRDCOScOogc00coo 0000505000000 De#*0Uslleeer oe 
@50S¢0US@¢0#00S60l¢¢00S600e6L@0067 DOODDODDSOUSR00000Sb0g0n00gSE00009m - JO@SCUSO0UeeO 
/O¢ 0 SS0D6C0 C0066 0880066060 068806 DCOODRSD000OSC 00 J00c00rHse50o0coo 1% DO@]L@¢*0SO0L 
SOLS6 (DOSULeOCSO0ee00$e0800660085 COOOSI0D00RDOCDR0CR00Cb00000000 906 IGE oO sees lee 
Se 0S O0OSS00eSlOSelOSe00eG00e8004 DODSOODSU0CSO00 SOO leoocepooecoOos 2 i p Zale Xela 4 fale 2 
Coes teeisectsetresslesccsetse! Oeichecsoe tse Ces aer goes 3303 ee age st e 
Is 5 ‘ ‘ 30 LJ J ey ‘ ‘ LJ tial = ia f ri s Li L 2 d j L oo 
SO0SS00Se0 eS eel ae Oes006 0660081 e000 : lela erate etal ala eee Clieenline 
Front. Drawing in Draft—32 Threads in Pattern. o ix 1c ry i secreece 
« > iLe*OLleOlleen 
mle J (Lee O Oe 
oecce. secnsece 
o ee 00eSO0 
eels O@e00¢00 
OOee0 eOlesllee 
OU@@O0 @00e0Uee 
*e0LieK 39008800 
*#o00e @e00eeo0 
O0e@0 Dleellee 
OoeeO OOS@O0e 
C80 ¢006800 
RR mw © OOS RwdD 
OPS Des leeoles0lee Clee lOoMeOlOMeL 1s OOOOLO iGOoeooou 
vane OCU eer se lleellesel ee eel 14 OBOO00L GOS0000G 
2 POSS elles eel eOl eee l@eOle 13 COO0CK JOOGGlGo 
5 MOSS ORReC i Ceenneed @¢0lee¢e lee l0e@ 12 OOO0O0UL Hoboooooo 
2 ee eel leenleellecueel le e@00@@01 GOCoSGonL oOuoGoOoo 
ze Gee Ue slo beeoleen eel Cee Oleeo 10 GOOOOU @ooooocco 
8 SO Sel Cee lee (elleellee eee le) SOCou. i @OGCOoOCo 
< Deer eee os senneel e0Lleelbee@00e@s OoOooo0o ooe@#ooooco 
8 Ce ee pe eleeelee eel lee lee: COOOG0 DObeo0o00 
eae OS@@DleelleSOleelleeooeeo6s Onoood ooco#oo00 
» SOO e eet leenleelee lee lleelles COCULe COOCOeCoo 
2 oew OSes U Cee lee leelles0l een 94 OUDOSO OoOooveDo 
SOE USS SUS elieeOleeNeCOll@elleen 3s SOOROO SOOOOrOneS 
tate Theta tele tel Jalal Stele 1 ele) 7 Ia) OO@000 Oooo OOoOoooce 
J S@0lese ClOeSOUSSCOSeCUSSLLe1 SeL Seles atStetaatstoy tets{atats\stete(atets{s{ata 


Front, Drawing in Draft.—32 Threads in Pattern, 


t 7 ie P 
_ & BES SHE 254 SHR. 


See PEN. os. 


r+ ret aon 
Pe ie eee 


See QoS Phe ~~ FHe 
Be Ree Bee 
a. 


“ale bee ‘/-e. 


Plate No. 5. 


PICKOUT No. 15. 


Fl & & & i=] a 
S 8 2 3 g 3 
S As As As ; - 
ay 2 P=} a : 
es get Sos tes oS. eee Ree GeeRoae eso ess sdey Oe. ceee sd seeca ese 
2 AL AS 2. ia BA 
Fe His ss sigsas es geeB gs og = Ree Eee soe se ese ce PM scces cs derees 
A gn 3 aH 83 3A 
S i] 3 =| 3 
a8 t 3 é E 
& Be ic} --) o a Filling ; 
OSSOSORSCS STE SRL OSSe EC SERe eeKeses: [ ; 4 
$92 es lecse oe lessees ene Soleeseles ieessles sossee. eessee ts pee ae 
SUSSSSleeleeseleeleseoloel eee0 S2ISSSe OOlesesoOeeedo lel eee 00400 us is 
eleeleese0es See Se Seas ee eats eeleseel es iseccess isesess fal PY 
C800 169 O0OO1OO09668 168 OS 6e0ee lOSeslee_eeeelee ee. O@ee@ 70e@00 x so 
PO lSSSS 1O2L16SSS 190 OCSSLSS SSO MOL OSSOl OSL OCeO Ll eesO SeeCeeD See 2 be 
1 SRUSS OCSO SO OS OelSeleenelealeeeeles leanelos Pee tatel Teel t 4 fetal Ose “ “ 
3 USSPHO SOL SOSOIHOL ESOC LOOlOCSO OSC OOS SLOSL26Gel eee eeeeee leese © & 
3 SPU SOOO 1S SIOSSC SSL S990 Se lesesleoelegeeleoeleseolleO eee 0 eee c ut 
" GHF0SSLOSMOD IOS IOSOOLSOL§EOSSOEOLESSOL SOOOCOOOL ee Lleeeoeso lessees : a 
elieses SOLSSHOIPSL SS CO_SOLDOSES [OSLOSRCL ESL E000 08040lese CKe0leeen ; u 
SOPOLSSSS1OO1S98S 196 SSS 0 Se lene lOelaseeneelesecias j eee & “ 
hd os 2 Sd 000LEKO000 
SBSFISS1SOOO SO 1660 HO lOSGO OS ORO OL SSL ESO8 [9eLlelleeellell eee. 5 bs 
eeleteoles ease 808s ee Sete ea setelselesse. legeses leseese. ee S 
OODODUSOOCO SELDOM SSCL OOS Ol eeleseeleeleeee osectsss O@00@¢s0Ce us : 
NeSSe 96 ebee Se sees ee tes ee Sees lee Shes seeessee ebeete [ “ SS 
ANOS -EDHNR ONTOS D ANMY OCEOan RIOOCeDHINOVTMCiU-DeHeanweocke Bas mac SacaS wa avec wrnoo 
0 16 DOGO ooo ggg 009q000C000R0us000000900o0 sisie 5oe ooo 
001 DOOORRBoobo00 20D Do 0000co500000000000005 a BggSgceccogEcalapeSooo00cue 
4 O14 Ooo0cco asa fees/ofnelo[nlailns(s (aes oe(ols/0(ssle/sflnislniin(alsnisiealstesiai elalse(ats @00 
& @@ 18 QOOOSO0000G0 C000 OO 0000C00000000C00bb0c02000b202g000000b02sb8cche00000006000 
S @@ 12 QOOOOOD0 0000000000 00C0S900E0000000000000000000o0000000:800000008 0000 
& ee OO QOODOGOOODS000000000000 Ga0c0000200:c3:b:bb:000CCbb00R0péo5000506nD0000 
5 @ 10 OOCOOOCOSOCORCH0OCOUO0RLGCOERBDODSE000 00000000020 bLbRooR0000«0000b0nsn00000 
I= 008 9 OODDO0S00000 0200020 00020300002unbge000050G00005co0000ua0000000C eooo0ngn 
= @@ 8 OOOODODO@CCOCOSCSOC OD DDCeDOD0CDDeOOOODooeOoooooUCcoeoooonoESoooooDoo 
a ie 7 QOOOOOMOOCODCOSOCOOO0CDs cO00000e0OOoo0CeDOs0oaCe0og00000000000cc000 
5 @@00 6 DOOOOSO00U00DeéCOc0D0beDOCoooosooob0000e¢0000C0 OOgocooo000000e00 
2 1@@@ 5 COODDSOUOOOU0O@D0000C04DO000DDs00DD0DbeD0o000bbesoo0000000nn0000000n 
Ag Meee 4 OODOSOUCOOO0DSOOOL OOD SD DOOO0Ds0000000e800000004«000Cnob00000002020z02z02000 
ar ere et ee tte Weal loletelaleletar fetelerela(eiar fulslelelatetar taleietale|atel (s\a(e/e(slele( iaieleleleisiereteia aisle wees 
beL > 2 fa). OG! @coouogo oo Oo 
D@@CCO0DSeCeCOe0 1 BOOOOOODSOUDDOOOOeD0O0 Ho econnoooDeUooooooeOoO ISSO Sooo Beoe809 
Front. The Drawing in Draft. 64 Threads in the Pattern. 
PICKOUT No. 16, 
Settee sess eel ee soles leslesleeneene CODCOD SS OS COSSU SSD ESO HOO He ee ee0e00e00e et jae jeiet jatel ielel Piet a e065 
@6600000@D00S@S0D0SOO00086S$0000400006400006SS000008C 00660086600 06es0l06¢00600e00e00e00e00e00e00e0De00e 
O@¢0S# 1 0e0eSs Deel Sseleelee SeLee ee Se ee $6 es 68 Ss SS Bees Seles es se 7s O@00@COSUOs00e00e00e00¢00800 
D@ee000eseL @0OUU0eSOCOleee0lo eer (S000 8e80 0089600996000 ee DDS ee0l0S00e00SUCe00s00el O8D0e00S006e00e 
SSS ISS 68068 ee eels see lseles se 66 se 160 5 O@SOSSI SSL MOOSSLOOO MOL SSD ee0D Sl USelOel0el0el0e 00s 0060080060 
ry DOM @OO00CSS00NSSS00DeSelOUSee00Ceee00 DODS6+0CO¢P#S00OSCOU0OOSS000SS8 0S 00el0S0Ue0Ue0le @OCe0oe0ce 
g #elee es lesiee SslOS Se Oe ee eb ee lee ss eeres Se sslee sales @0990@ 609080080080 S00e00ec0S00e00800600 
5 DOUG SC DOSS @00OCCOSOUUSSSC000SSC000 66400088 S80004460 0086000 SS6S0COS@S000See0S00400S00600600640CR80) O@O00@00e 
" Oeeleelee S964 SOOO SS OSes 96 Sel Ol eel te SS ee ee lee less Os@S0ee000S00e 06 l0e00e00e0CeDUelDeloeD 
A SOOUDPOSOlOSSS 000 CSSLOLS CODD USSe0 Dee ellLUee*SO0DCeSse00leee lOeeer re dareer Ss + ielet Jala jelet fale aiet etal jee el ooeooe 
SOSSCLS OOOO OSI SSUESOOSL SONOS LO OOSSIOOISOLOCL OSL ESD ASLO ODOR OS0OS0 OO 066 eee 00S00e0Le00e00S00e00e80le00e00 
@Sl JD ess0D0Se sO OU eee OOSes 0086 e000 SeSU00See000SS6000ReS000e4e 000$e600066S006 0080 0600600e00e00800elo400e 
12845612845612345612345612 3456123456123 4561234561234561284 56123 456123456178 97897 BITE XTBX9THIT B9TBIT BIT BIT 
@9009 Doocoooo sogoscsocgs9qgoqoo90qnqq 909 0R 9900009000 90009 20e0 0000 900c000099 noo s¢otecoeocecnsoCeogscpec ele 
JO@O0 8 DOODODODOGCUTOoOCOoooOooo Doe OOS SD DON OCU OCC OU D0ES TO SD SF0CG0000C00000: s0000050000800e00e00#07e00e00e00e00e00e00 
FOeOe 7 OCODDDOODOOOOODooOcoO00CODoOOOReOGOOoor 1000 ol nooo 1c Deo0es j : 
o pooooovooG Oo OOooooRsoooo0coo0Coosbo0n0000Cceboe000000S0e 08 Ce COSC oe COSCOS00e coe l0e0Us 
@¢@6 OOODDDS0D000e000008D000oe000b0eo0 000000 oO j jaljala Doecosoo05000 Coooo Oo i 
Ps Oo a ODO@OCOCO0s0C0O00e0D0U0DbeO000008000C0e995 ooo oo OOG000000c0 
O05 OOSO#000COSO0CO00S@0O000eco0ocer. eiaiay jalelelalat {eieistale! jeiaiaiaier jeleleiaiar jejaiale| *00000e0c00c00000s00c0000000050000 46000 
@04 DODSDO00OSCOCCO@O0000s OOUDSOUCOOOS UU OOOe07000S@00000S0O00O0e00000e0S0C bDeaconobosss5b000C000C:02020000d02020005000u 
603 OOUSDOOS0e00 00CeO00C00e DOOD S0C000e000054000006 000008000 0OeCUD00e00CO0 sooo c000n So o00000000000005000000000 
@2 CeDCOCOSOODODe0O0c0Se00050e 000008 2060 F fotatetalat jatelaleier jelejetelat jsietaielar ieielel OS@OCOUOD0000CT0000000CO0000500C000080050 
@1 S000 0D000eOCORDe@o0DoboeDS00DeO000 OOo Jo@0c09005900 SAH OuecooEsou0go0 nooo 


The seer in Rae yetee in the a 


The WEAVE No. 79. 
a) [tee OF 
@ee0 


on $+ ejer i 
~ se ecegeers «0 
2 #060006 e000 
5 #eeeleeseleloe 
* ela@eseesclee00e 
eeeeee0e90LS08 
eeo0eesele0e0e 
Hwowanarnos-voe quoig 
PICKOUT No, 17. 
OOUDDODOCOOOO 1 seeds = 
OOSOOnoOoooeEo 2 eles os00e Opesooselosenoee SS 000s 008s S00 S0S0S0S040e0e080608 eo 
fet Jotnlaislelelatetalels 3 egeoeelee eeeselersseesle eleeee ye ecresese es. DUO e0e0elelelelelelene #00 
OOU@OD0UCO000LD 4leteseee O¢@0lee00eel Leelee lee lee lee lleese ele slelelelelenene eee 
DCOO@O0SD500000 5 @eteeee eSeesele esses a estes ie eseeer O@Oe0e0e0e0elell selene! Des 
OOSU#O00000000 ‘oeeeenie O60 l#S004800¢SLOCS00S0Sell ee leselelelelelelslslelenels O05 
OUSCO#O500500 * Mleseeoe er far ey deka ee fer tar a dee de a eb et deb deb ter ae ter ar 4 ebeDeledennenn 
e) eleleiselalet jeiaieielele Seeeo eee 5 RUD@ODOPSO Dee oe lOSeO eel een @l¢seele0S0e0e0elelslelele oe 
FI@OOGCOOOOCRDCO 1 Sesesee0 2 COOLSSCRSOIELONSSOD SLOSS OSD OL OCCC I OLLOLlOlels el eelelelels eo 
yIC@0GOOC0055000 2 seleeees 5 O20 0 Sel OSl0USSOOPSLOSCSOL SOL  O8lLSSO0Sl eS ele elelelecene ry ie 
5 jOO@00090000000 Seer RB CO OSS Se SIO SSO SI OCRCCOLeDeSe lel lOlelelelelelelslelele 00 
€ JOODOOOOUS00500 2 Ute ele DOO ee 00O6C00SS004C004O0SO00HOlD Se e0S 1980S else le lec aoe 
5 JOODS0DS050#0000 1 eles 80 CDCOO AFRO LSEORSIS FSSC C0 SO 9C0 eDelele0S ls S00 eS elelelelencen 
8 JODSOOOSCOODUOD 3 eeseeUSe Oe Ue@lU¢@0I#¢l0¢elUee ee lleeeeelelelelelelelelelelelelelese] 
5 JO@D000OS000000 2 #e0eeoe@ < 8S DSL OROSSISLECRCOLO 9 OCRO OLS ellelenelelelslelelelelels a 
yMDODODOOCOOOCO 1 eeeeeoed 5 @OUSODOSSUUSCL Sell SeOOS sl OSlLleleeee0e #04080 e008 e0e0e0e@ns oes 
3 JOOOODIO#O00000 8 +#sseee © Aereeeesle ee 06664660600 (e00eleleleleleslele0e5e OL 
FECOOOReO 000000 ie eseecs 4 AMD TNS EDAD TOOL DAD MOSS AAP CSS HOH NAY ALAR FRX RVVSR SRSes VaRlOm? am 
“10050 DOO 6 @eeeee.) ; - me s = : ecedeoo 
ePoGzsee7000000 teas ose 2 Geptieiessn ieee Coens 993900988999 Beg 5 agSGcaUSeasoa Gunus mescsreceec cc 
Ss Lik 4 Sate r 4 = st = = p : 
i [oets333332 554 1S88Sse99 7 2 Segseseteeesese! 1 33c 300000 ud Seeetc edge a Jog educate enmesoesse0e ooo od occ 
2 Os Oo0oo Sees ° lowe OOG E SI SOoOn#OOUDODOOOSOooocoenb000b00000008 
SI@COO0GOCOOGO0G 148896800 OO@DOO@OU0eO00e 12 0 OooogoS 20060000 ooeooocoo00g } O O00 
5 Pacdoscsontecs heescone: S SeSttet Ses °sag0 8 (dace ue eo sudseaeag 0c Ceaaaaca ule" ches sggaqseeeeccure aa caaes 
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82 Harness Weave. 
28 Bare. 


The figures represent the Drsine in Draft, and are to be drawn on to a corresponding number of harness. 


96 Threads in the Drawing in Draft. 


26, 


PICKOUT No. 


PICKOUT No. 25. 


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26 Harness Weave—36 Bars. Front. 


72 Threads in the Drawing in Draft. 


27. 


28. 


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32 Harness weave—48 Bars, 
Front. 
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28 Harness Weave—52 Bars. 
Front. 


RAAWS SHMWAKH ORAKA QRAS RAK RA 


52 Threads in the Drawing in Draft. 


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PLATE No. 9. 


PICKOUT No. 90. 


24 Homess Weave—48 Bars. 
Front. 


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Front. 


Front. 


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8 ON TAVAM OL 


48 Th:eadg in the Drawing in Draft. 


2 Bare, Straight Draft, 


WEAVE No. S84. 


82 Harness Weay 


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PICKOUT No, 82. 


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28 Threads in Drawing in Draft. 


COD DRO NRLOD OTS nRQMOW 


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14 Harness Weave—28 Bars. 
Front. 


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PICKOUT No. 33. 


he scoecececn 
Pogue con lelecauaeceee. 


16 ‘Tlarness Weave—32 Bars, 
Front. 


82 Threads in Drawing in Draft. 


PICKOUT No. 34. 


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18 Harness Weave—40 Bars. 
Front. 


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6 Harnose Weave—48 Bars. 
Front. 


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